Brandeis State of the Arts, Spring 2019 by Brandeis University

W IN T ER / S P R IN G 20 19

in th is is s u e:

OF THE

Howardena Pindell: What Remains to Be Seen; Public Sculpture at Brandeis; Reimagining “The Bacchae”

STATE ARTS a guide to the arts at brandeis

VISIONS: INGRID SCHORR //

Among the works on view at the Rose this semester is an abstract painting by Howardena Pindell called “Untitled #18.” The colors are quiet and the materials are modest: glitter, dots of pigment. The large surface of the canvas is covered with hundreds of tiny circles punched out of paper, a motif that Pindell has employed for many of her abstract works. Yet the painting carries the enormous weight of Pindell’s personal history as a black American. “When I was a child, I was with my father in southern Ohio or northern Kentucky, and we went to a root beer stand,” Pindell told assistant curator Caitlin Julia Rubin in 2014. “They gave us mugs with red circles on the bottom to designate that the glass was to be used by a person of color. I see that as the reason I have been obsessed with the circle, using it in a way that would be positive instead of negative.”

You can see “Untitled #18” alongside other significant works from Pindell’s long career, including the video “Free, White and 21,” which she made in response to racism in the art world.

Can the arts change the world? “They may change human beings who might change the world,” wrote the late educator and philosopher Maxine Greene. There is no shortage of bold and creative thinking at Brandeis. Find some time, even a few minutes a day, to discover the arts here. In this issue of State of the Arts, you’ll find an overview of public sculpture on campus, written by Nancy Scott, professor of art history, and her students. What do these works tell us about the history of Brandeis and its place in the world? By looking closely at complex works of art, we can develop empathy for different points of view, histories different from our own. The pleasure that comes with engaging with the arts makes it more likely that we’ll break old habits of thinking, look more closely and think more deeply. If there’s anything that members of our creative arts community have in common, it’s that they dare to ask “what if?” What if a Maori composer and a Chickasaw composer visit campus to share their music with a Western-style string quartet? What might a new translation of a classical Greek play reveal about political tyranny? Brandeis’ biggest celebration of the arts, the Leonard Bernstein Festival of Creative Arts, takes place from April 7-14. The campus will resonate with a living sound: voices and vibrations amplified by the vitality of new works created for the festival by more than 300 members of the Brandeis community and by guest artists from around the country. Join us!

Ingrid Schorr Director, Office of the Arts

Your guide to winter/spring 2019 plays, concerts, readings and exhibitions

AT T H E ROS E 8 Exhibitions and programs at the Rose Art Museum

THE N E W STO N E , B RO N Z E A ND I RON AGE S 10 An art historian's overview of public sculpture at Brandeis

LEO N A R D B E R N ST E I N F E ST I VAL OF T HE CRE AT I VE ARTS™ 17 Highlights of the April 7-14 festival

WO R K I N G T H E A N G L E S 1 8 Professor Cameron Anderson on set design

R EI M AG I N I N G “T H E B ACC H A E” 2 0 Stephanie Fleischmann ignites the ancient Greek text with new lyrics for the Brandeis production.

THE N OT I O N O F M E LO DY 22 MusicUnitesUS presents musicians and composers from New Zealand, Australia and the United States.

INS I D E BACK COV E R :

VI S I TO R I N FO R M AT I O N Hours, parking, etc.

CA L E N DA R H I G H L I G H TS Plan your Brandeis arts moments with this pullout calendar.

state of the arts Winter/Spring 2019 Volume 15 | Number 2 State of the Arts is published twice a year by Brandeis University Office of the Arts.

editor Ingrid Schorr photography Mike Lovett

copy editor Susan Pasternack contributors Jarret Bencks Judith Eissenberg Thomas King Yair Koas ’19 Kate McBride Susan Metrican Deborah Rosenstein Nancy Scott Robbie Steinberg ’13 Katie Sumi

Office of Communications © Brandeis University 2019 K058

correspondence Brandeis University Office of the Arts MS 092 | PO Box 549110 Waltham, MA 02453-2728 brandeis.edu/arts guide to the arts cover photograph Timothy Greenfield-Sanders “Howardena Pindell from the series Art World,” 1980 Gelatin silver print | 20 x 15⅞ The Museum of Fine Arts, Houston

\\ CONTENTS

CA L E N DA R 2

WINTER/SPRING CALENDAR 2019 //

a tribute to irving fine

Unless otherwise noted, all events are free and open to the public, and take place at the Slosberg Music Center. For program updates, visit brandeis.edu/events. Tickets are available at brandeis.edu/tickets or 781-736-3400.

Aaron Copland wrote that the music of Irving Fine (1914-1962) “wins us over through its keenly conceived sonorities and its fully realized expressive content.” Lydian String Quartet members and distinguished guest musicians performs in the music department’s annual tribute to its founder.

saturday, february 2, 8 pm

gordon and hodgkinson duo

Joshua Gordon, cello (Lydian String Quartet), and Randall Hodgkinson, piano, with special guest Andrea Segar, violin (Lydian String Quartet). Tickets: $20/$15/$5. wednesday, february 13, noon

The Brandeis favorite returns for an evening of classical piano music. wednesday, march 27, noon

musicunitesus at mandel

Mandel Center for the Humanities Atrium

Enjoy a preview of the March 30 concert, followed by a free buffet lunch. Presented by the Department of Music and the Mandel Center for the Humanities.

february 16-17

new music brandeis: loadbang

New York City-based new-music chamber group loadbang is building a new kind of music for mixed ensemble of trumpet, trombone, bass clarinet and baritone voice. The ensemble has been called “extra-cool” and “exhilarating” by The Baltimore Sun, “inventive” by The New York Times. saturday, march 2, 8 pm

Many events are free and open to the public while some require tickets. Tickets are available online at brandeis.edu/tickets. Visit the box office in the Shapiro Campus Center or call 781-736-3400.

friday, march 22, 8 pm

straight b’s with evan hirsch, piano

undergraduate showcase Presented by the Department of Music and the Mandel Center for the Humanities.

The arts are central to Brandeis’ commitment to global citizenship and social change. State of the Arts provides information about events and programs from the Division of Creative Arts and other initiatives around Brandeis.

sunday, march 17, 3 pm

MUSIC

aleck karis, piano

The internationally acclaimed pianist performs music of Debussy and Stravinsky. sunday, march 3, 3 pm

solar winds quintet: music and art

Program includes music by Libby Larsen, Robert S. Cohen and a world premiere by Mark Fish. Tickets: $20/$10, available only at the door. Free admission for students. sunday, march 10, 3 pm

andrea segar, violin, with angela kim, piano Violinist Andrea Segar (Lydian String Quartet) performs with frequent collaborator Angela Kim. Tickets: $20/$15/$5.

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saturday, march 30, 8 pm

musicunitesus presents: the notion of melody (Pre-concert talk, 7 p.m.) Led by Maori composer Horomona Horo, Australian composer Ian Munro and Chickasaw composer Jerod Impichchaachaaha’ Tate. Musicians: Gillian Ansell (viola), Judith Eissenberg (violin), Rhonda Rider (cello) and Wilma Smith (violin). Tickets: $20/$15/$5. sunday, march 31, 3 pm

the lydian octet

Lydian String Quartet players past and present perform the Mendelssohn Octet. Andrea Segar, Wilma Smith, Daniel Stepner and Judith Eissenberg, violins; Mark Berger and Gillian Ansell, violas; Joshua Gordon and Rhonda Rider, cellos. Tickets: $20/$15/$5 to benefit the Mary Ruth Ray Fund. tuesday, april 2, 12:30 pm

let’s make a better world: the jane sapp songbook The Brandeis launch of the book and podcast “Let’s Make a Better World:

Stories and Songs by Jane Sapp,” exploring an approach to cultural work rooted in African-American musical traditions. Brief remarks from the perspectives of different disciplines, interspersed with performances of songs by Jane Sapp and friends. Co-sponsored by CAST, Politics, AAAS. friday, april 5, 7 pm

undergraduate composers’ collective Undergraduate composers present their newest works. sunday, april 7, 3 pm

brandeis jazz ensemble

Bob Nieske, director.

sunday, april 14, 3 pm

brandeis university chorus and chamber singers

Robert Duff, director. sunday, april 14, 7 pm

brandeis-wellesley orchestra

Neal Hampton, conductor. monday, april 15, 7 pm

violin and viola studio recital tuesday, april 16, 7 pm

leonard bernstein fellowship recital

sunday, april 7, 7 pm

brandeis wind ensemble

Brandeis’ elite undergraduate musicians perform chamber music works.

Tom Souza, director.

wednesday, april 17, 7 pm

wednesday, april 10, noon

lydian string quartet: sneak peek

Mandel Center for the Humanities Atrium Enjoy a preview of the April 13 concert, followed by a free buffet lunch. Presented by the Department of Music and the Mandel Center for the Humanities.

fafali: music and dance from ghana

Experience the irresistible rhythms of Ghana, performed by students in the music department drum and dance ensemble Fafali. Ben Paulding, director.

thursday, april 11, 7 pm

brandeis early music ensemble

Harlan Chapel Discover the music that became the foundation for Bach and his successors, performed on historical instruments such as viols, harps and sackbuts. Sarah Mead, director. friday, april 12, 8 pm

new music brandeis: ludovico ensemble

The Boston-based Ludovico Ensemble is known for its carefully curated programs focusing on specific and often unusual instrumentations. The Boston Globe hailed Ludovico’s recording of Marti Epstein’s “Hypnagogia” as one of the best classical albums of 2015. saturday, april 13, 8 pm

lydian string quartet: love and death, part iii

(Pre-concert talk, 7 p.m.) The Lydian String Quartet performs Puccini’s “Crisantemi,” SC 65; Britten’s String Quartet No. 3, Op. 94; and Schubert’s String Quartet No. 14 in D minor, D. 810, “Death and the Maiden.” Tickets: $20/$15/$5.

tuesday, april 30, 7 pm

brandeis improv collective

Expect the unexpected from the Brandeis Improv Collective. Tom Hall, director. wednesday, may 1, 7 pm

chamber music recital End-of-semester recital by students in MUS116. may 4-5

new music brandeis: sound icon

New Music Brandeis closes the season with Boston's contemporary music sinfonietta.

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VISUAL ARTS february 1-may 19

howardena pindell: what remains to be seen Rose Art Museum For exhibition description, see page 8. through february 15

half-silvered

Kniznick Gallery, Epstein Building Sculptor Anne Lilly and photographer Karin Rosenthal explore the notion of fractured figures through the lenses of water and mirrors.

february 28-june 28

one foot planted ayelet carmi and meirav heiman Kniznick Gallery, Epstein Building In Carmi and Heiman’s joint video projects, a mythical or post-apocalyptic society emerges whose most prominent members are women. In creating these spectacles that explore politics, conflict and identity, the artists ensure their interests in cinematography, performance and mechanical inventions are all at play. Sponsored by the Hadassah-Brandeis Institute. Opening Reception: Thursday, February 28, 5-8 p.m. march 27-april 19

february 26-march 20

fine arts majors and minors exhibition

post-baccalaureate and senior honors painting and sculpture exhibition

Dreitzer Gallery, Spingold Theater Center

Opening Reception: Tuesday, February 26, 5-7 p.m.

Opening Reception: Wednesday, March 27, 5-7 p.m. may 1-19

class of 2019 senior studio majors exhibition Dreitzer Gallery, Spingold Theater Center

THIS PAGE: AYELET CARMI AND MEIRAV HEIMAN Stills from “The Israel Trail: Procession,” 2018 FACING PAGE: TOP: DIDIER WILLIAM

BOTTOM: AMY PODMORE

“Sanite Belair,” 2018

“Measured Rest,” 2009

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IMAGES COURTESY OF THE ARTISTS

Opening Reception: Wednesday, May 1, 5-7 p.m.

CONTEMPORARY ART TALKS Free and open to the public. friday, february 8, 2:30 pm

didier william

Goldman-Schwartz Fine Arts Studios, Room 115 Painter and printmaker Didier William draws from memory, oratory and historical archives to re-imagine narratives of the black diaspora. He is chair of the MFA program at the Pennsylvania Academy of Fine Arts. Sponsored by the Department of Fine Arts. tuesday, february 12, 2:30 pm

amy podmore

Goldman-Schwartz Fine Arts Studios, Room 115 Amy Podmore is a sculptor who teaches at Williams College. She received her MFA from the University of California, Davis, and attended the Skowhegan School of Painting and Sculpture. Sponsored by the Department of Fine Arts. friday, march 8, 1:30 pm

gina osterloh

Goldman-Schwartz Fine Arts Studios, Room 115 Gina Osterloh’s photographic practice explores the physical body and its representational imprint, trace or stand-in. She is represented by Higher Pictures in New York City. Sponsored by the Department of Fine Arts. monday, april 1, 6 pm

taca sui

Mandel Center for Humanities, G3 Beijing and New York-based photographer Taca Sui creates work inspired by the history and landscape of China that challenges our preconceptions about nation and nature as well as our expectations for photography itself. Sponsored by the Department of Fine Arts and the East Asian Studies, and International and Global Studies programs. monday, april 29, 6 pm

denise markonish ’97

Denise Markonish ‘97 is a curator at MASS MoCA, the largest non-collecting contemporary art museum in North America. She has organized exhibitions there by Nick Cave, Teresita Fernández, Jim Shaw and Brandeis professor Joe Wardwell. Sponsored by the Department of Fine Arts.

IMAGES COURTESY OF THE ARTISTS

For location, please visit brandeis.edu/events.

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march 15-17

senior festival 2019 Laurie Theater, Spingold Theater Center In the eighth annual Senior Festival, theater arts students showcase their work in acting, directing, choreography and design. Presented by the Department of Theater Arts. Free and open to the public.

five kinds of silence Friday, March 15 at 6 p.m. Saturday, March 16 at 7:30 p.m. Sunday, March 17 at 3 p.m.

mir zaynen do Friday, March 15 at 8 p.m. Saturday, March 16 at 4 p.m. Sunday, March 17 at 5 p.m.

the american dream BY Edward Albee Friday, March 15 at 9:30 p.m. Saturday, March 16 at 7:30 p.m. Sunday, March 17 at 1 p.m. Director Kate Kesselman ’19 revisits Edward Albee’s 1961 satire to see how ideas about family, money, stereotypes and gender norms hold up today.

PHOTOGRAPH BY MIKE LOVETT

In her original adaptation of I.L. Peretz’s traditional folktale “If Not Higher,” Emily Politi ’19 explores the effects of pogroms on Jewish villages in the Pale of Settlement, modern-day Eastern Europe, and how even in the worst of times, people are still good at heart.

This stylized work by British playwright Shelagh Stephenson explores the cycle of abuse through three female characters who have escaped an oppressive home life and their deceased abuser. Featuring Hannah McCowan ‘19; directed by Lauren Komer ‘21.

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THEATER

this place/displaced

Tickets available at brandeis.edu/tickets or 781-736-7400.

Merrick Studio, Spingold Theater Center

february 10

quickies

Shapiro Campus Center Theater The annual festival of very short plays written and directed by Brandeis students. Presented by the student-run Undergraduate Collective. Free and open to the public. march 14-17

arcadia

Shapiro Campus Center Theater Tom Stoppard’s brilliant 1993 play dances back and forth across the centuries, discussing truth, love, literature, science — and the disruptive influence of sex on all other things we know about life. Presented by the student-run Undergraduate Collective. Free to Brandeis students; $5 general admission. march 28-31

mamma mia!

Shapiro Campus Center Theater One mother, one daughter, three possible fathers, and more than 20 songs by ABBA. Presented by the student-run Undergraduate Collective. Free to Brandeis students; $5 general admission. april 11-14

the bacchae Mainstage Theater, Spingold Theater Center

This new translation from ancient Greek by Joel P. Christensen ‘01 (Classics) tells the story of Dionysus, who travels to Thebes to clear his mother’s name. His arrival upends the ordered city-state of Thebes by introducing to Theban women the frenzied worship of a new god. With vibrant original songs and choreography, this production takes a contemporary look at transgression, gender, religious ecstasy, political authority and the psychology of mass violence. Scenic design by Cameron Anderson. Directed by Dmitry Troyanovsky. Presented by the Department of Theater Arts. Tickets: $20/$15/$5. april 12-13

boris' kitchen spring show

Shapiro Campus Center Theater

Get into the kitchen with Brandeis’ student-run sketch comedy group. Donations for charity accepted at the door.

may 2-4

Artists’ Theater of Boston has partnered with Bostonarea residents who have experienced eviction and displacement to create a new work exploring gentrification, loss of community and local memory, and the fight to have a home. Directed by Josh Glenn-Kayden of Boston’s Company One Theatre. Sponsored by the interdisciplinary minor in Creativity, the Arts, and Social Transformation (CAST), with financial support from the Max and Sunny Howard Memorial Foundation (through the support of Naomi Sinnreich, P’13). Free and open to the Brandeis community.

LITERARY ARTS Readings are sponsored by the Creative Writing Program and are free and open to the public. Visit brandeis.edu/ events for locations. wednesday, february 6, 5:30 pm

reading: jennifer elise foerster Poet Jennifer Elise Foerster is the author of “Leaving Tulsa” and “Bright Raft in the Afterweather.” An alumna of the Institute of American Indian Arts (IAIA), she holds a PhD from the University of Denver and is the recipient of fellowships from the National Endowment for the Arts, the Bread Loaf Writers’ Conference and Stanford University. A member of the Muscogee (Creek) Nation of Oklahoma, she lives in San Francisco. Co-sponsored by the interdisciplinary minor in Creativity, the Arts, and Social Transformation (CAST). Free and open to the public. thursday, march 21, 5:30 pm

reading: melissa albert Harlan Chapel

Melissa Albert’s debut novel, “The Hazel Wood,” was a New York Times best-seller and named a most-anticipated book of 2018 by Entertainment Weekly and Esquire. The book “seamlessly combines contemporary realism with fantasy, blurring the edges in a way that highlights that place where stories and real life convene, where magic contains truth” (New York Times Book Review). It has been published in 25 countries and is being made into a film by Touchstone Pictures. Sponsored by the Creative Writing Program. Free and open to the public. thursday, may 2, 5:30 pm

senior honors thesis reading Harlan Chapel

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AT THE ROSE // Founded in 1961, the Rose Art Museum at Brandeis University is among the nation’s premier university museums dedicated to collecting, preserving, exhibiting and interpreting modern and contemporary art. A center of cultural and intellectual life on campus, the museum serves as a catalyst for the exchange of ideas: a place of discovery, intersection and dialogue at the university and within Greater Boston. The Rose works to affirm and advance the values of social justice, freedom of expression, global diversity and academic excellence that are hallmarks of Brandeis University. Postwar American and international contemporary art are particularly well represented within the Rose’s renowned permanent collection of more than 9,000 objects.

howardena pindell what remains to be seen THIS SPRING, the Rose Art Museum

will host the most comprehensive exhibition of Howardena Pindell’s work to date, “Howardena Pindell: What Remains to Be Seen.” For five decades, Pindell (b. Philadelphia, 1943) has explored the intersection of art and activism, questioning the staid traditions of the art world and asserting her place in its history. The Rose Art Museum’s presentation is a major return of the artist to the museum. In 1993, the Rose hosted “Howardena Pindell: A Retrospective, 1972-1992,” coordinated at the Rose by Susan Stoops and Carl Belz.

Howardena Pindell Still from “Free, White and 21,” 1980 Videotape (color, sound) Collection, Museum of Contemporary Art Chicago, gift of Garth Greenan and Bryan Davidson Blue. Photo courtesy of the artist and Garth Greenan Gallery, New York.

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The Boston Globe wrote at the time: “After viewing the convincing retrospective of 20 years’ worth of her work now at the Rose Art Museum, you might just conclude that we’d all be better off if Pindell held high international office — secretary general of the UN, something on that order.” Pindell has fond memories of her first exhibition at Brandeis, including a daylong symposium hosted by the Rose, in partnership with the Women’s Studies Research Center. Titled “Just Anger,” the program explored the role of women’s anger in contemporary culture. Twenty-five years later, “What Remains to Be Seen” explores the continued arc of Pindell’s career, celebrating her singular vision and its enduring imprint on contemporary art. “That we continue to find deep resonances in the relationship of Pindell’s work to the issues confronting us today is testament to her enduring vision and incisive approach to art making,” says Rose assistant curator Caitlin Julia Rubin. The exhibition celebrates an artist who

Pindell wrote of this video work: “I decided to make ‘Free, White and 21’ after yet another run-in with racism in the art world and the white feminists… It was about domination and the erasure of experience, cancelling and rewriting history in a way that made one group feel safe and not threatened.”

challenged — and changed — the acceptable forms and subjects of painting while strongly advocating for issues of equity and social justice. Pindell studied figurative painting at Boston University, graduating in 1965. After receiving her MFA from Yale University, she moved to New York, where a trying job search resulted in an exhibitions assistant position at the Museum of Modern Art. Working late into the night after her hours at the museum, Pindell began to quietly revolutionize painting. “Pindell has always pushed the definition of painting,” says Rubin. At a time when the most celebrated painters were singularly concerned with color and form, Pindell explored radically new methods and materials. In her early experiments with the grid, boxed boundaries became increasingly overwhelmed — and eventually subsumed — by playful constellations of hole-punched dots. Cutting raw canvas and sewing it back together in irregular shapes, Pindell added glitter, talcum powder, sewing thread and perfume to the surface of her works, expanding the boundaries and expectations of what a painting might be.

The work she has created since 1979, when a car accident left her with short-term amnesia, engages the world outside the painting studio. Pindell has explored a wide range of subject matter, from the personal and diaristic to the social and political. Her Autobiography series transforms postcards from her global travels, which she used to reconstruct her memories, into photo-based collage. Other bodies of work respond to broader cultural concerns, critically addressing homelessness, AIDS, war, genocide, sexism, racism, xenophobia, apartheid and discrimination at large. Beyond her studio practice, Pindell conducted research on the demographics of artists represented in New York museums and commercial galleries. She presented her findings in two seminal reports: “Statistics, Testimony, and Supporting Documentation” (1987), and ”Commentary and Update of Gallery and Museum Statistics, 1986–1997.” Pindell’s illuminating research anticipated today’s urgent conversations about equity and inclusion, and the questions she raised are still relevant.

programs and events at the rose Unless otherwise noted, all events are free and open to the public, and take place at the Rose Art Museum. For program updates, please visit brandeis.edu/events. friday, february 1, 2-5 pm Campus Celebration for “Howardena Pindell: What Remains to Be Seen” saturday, february 2, 2 pm Pollack Fine Arts Teaching Center A Conversation With Howardena Pindell wednesday, february 6, 3:30 pm Close Looking: Carina Ray (African and African American Studies) and John Wardle (Astrophysics) will discuss “Untitled #18” by Howardena Pindell. friday, march 15, 12:30 pm saturday, may 18, 2 pm Curator Tour: Caitlin Julia Rubin on Howardena Pindell

Howardena Pindell “Untitled #4D,” 2009 Mixed media on paper collage 7 x 10 in. Courtesy of the artist and Garth Greenan Gallery, New York

Lead support for Howardena Pindell: What Remains To Be Seen is provided by the Harris Family Foundation in memory of Bette and Neison Harris: Caryn and King Harris, Katherine Harris, Toni and Ron Paul, Pam and Joe Szokol, Linda and Bill Friend, and Stephanie and John Harris; Kenneth C. Griffin; The Andy Warhol Foundation for the Visual Arts; and Marilyn and Larry Fields. Major support provided by the National Endowment for the Arts, the Terra Foundation for American Art, Charlotte Cramer Wagner and Herbert S. Wagner III of the Wagner Foundation, Liz and Eric Lefkofsky, and Nathan Cummings Foundation, with the support and encouragement of Jane Saks. Additional generous support provided by Garth Greenan Gallery. The Rose Art Museum presentation is supported by a generous gift from Gerald S. and Sandra Fineberg.

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the

stone, bronze and iron ages an overview of public sculpture at brandeis

by Nancy Scott

Professor of Fine Arts, Department of Fine Arts

WHAT DO THE BRONZE AND STONE pieces that we pass

on the Brandeis campus every day tell us about our history? The meaning of the nine-foot bronze figure of Justice Louis Brandeis, created in 1956 by Robert Berks for the 100th anniversary of Brandeis’ birth, is not difficult to read. But what of the many abstract works around campus? In 2013, students in my Public Sculpture class analyzed some of these pieces as public art and as anchors and symbols of the university’s many changes. The study yielded a core group of commissioned and donated sculpture, many representing the evolution of sculpture in the second half of the 20th century. Time and again we came up against a lack of archival information about the artists. Or the work itself has been forgotten, with little explanation as to when and why the works were placed on the campus in the first place. We collectively came to regard our study as a recuperation

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of meaning, context and memory of the works in our environment, as well as a discovery of the works’ legacy, purposely left to distinguish the campus. There are four women sculptors and many Jewish émigrés represented in the Brandeis sculpture collection. Among those who came to this country to seek artistic freedom, there is the notable example of Jacques Lipchitz, richly talented and a quick study, who befriended Picasso in his early years in Paris. In 2014 the Rose Art Museum commissioned Chris Burden’s Light of Reason, which has changed the campus landscape and also stands as a memorial to the artist’s last completed work. In this selective survey, the pastoral beauty of the landscape at Brandeis, so benefiting a dialogue with sculpture, has been masterfully captured by university photographer Mike Lovett.

chris burden, light of reason, 2014 Rose Art Museum Commissioned from the artist by the Rose Art Museum, 2012–2013 Light of Reason, a site-specific sculpture installation designed for the Rose Art Museum, is the last completed work by the Bostonborn artist Chris Burden (1946–2015). Burden salvaged the 24 cast-iron lampposts from a 1920s civic project in Los Angeles and restored them at his Topanga Canyon, California, studio. Modern LED lights create a swath of light that enlivens the broad concrete plaza (also Burden’s design) and welcomes the nocturnal walker. The work was inaugurated in September 2014 with a dedication by Fred Lawrence, Brandeis’ eighth president; music by the Lydian String Quartet; and a silent protest, led by about 50 students demonstrating against the university’s response to sexual violence. There are important precursors to Light of Reason. Though Burden is known for performance art in the 1970s that often placed his own body at risk, he later turned to projects such as 14 Double Magnolia Lamps (2006) and the popular Urban Light (2008) for the Los Angeles County Museum of Art, in which 202 street lamps form a dense cluster of differing styles and heights. For the Brandeis project, Burden created a design that suited the pastoral suburban campus and evoked the university’s founding principles. From the Brandeis seal, he extrapolated the formal element of threes: three flames of light above Boston’s original three hills, and three Hebrew letters that spell the word emet (truth). For the artwork’s title, Burden turned to the words of Justice Louis Brandeis: “If we would guide by the light of reason, we must let our minds be bold.” Burden described the design as reaching out to “point people to the museum.” The three concrete slabs that support the lamps serve as a peaceful spot “to sit, read a book, chat with a friend, or eat a sandwich,” he wrote. The museum’s then director, Chris Bedford, regarded the work as “a new beginning” for the Rose. In a recent conversation, Bedford called it "a democratic outdoor space...never meant to be scripted,” open to the campus community and beyond. Bedford has noted that Burden’s early performance work “threw into high relief the most pressing political questions of the day,” and though his late work is far different, the artist’s interest in creating "social space” never changed. Every fall, a new undergraduate class gathers at the lights for a welcome ritual. The sculpture serves as a concert and dance stage in the annual Festival of the Arts and as a year-round site for selfies. And the Light of Reason will shine on the museum’s 60th anniversary in 2020, continuing to draw students and visitors to the Rose. — Nancy Scott

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chaim gross, family at play (1976) President’s Garden Gift of Leonard and Annike Farber Chaim Gross began his art studies in Vienna at the Kunstgewerbeschule (“school of arts and crafts”) and continued in New York at the Beaux-Arts Institute of Design and the Art Students League. He worked primarily in the direct carving method, and thus initially created most of his sculptures in wood. He was also a professor of sculpture and printmaking at the New School for Social Research. By 1950, Gross worked mainly with bronze and in lithography. He was a member of the Federation of Modern Painters and Sculptors and the National Institute of Arts and Letters, and founder and first president of the Sculptors Guild. — Christina Kolokotroni ’13

ernst trova, tree (1982) Pearlman Building Gift of Sandra and David Bakalar Placed in a natural setting of trees and rocks, Tree both suggests and denies nature. In this work of innovative and technological modernism, sculptor Ernst Trova represents the trunk and branches of a tree through a stainless-steel rectangular post and angled forms extending outward to abstract geometric shapes. — Lilli Gecker ’13

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martin dermady, campus constellation (2010) Mandel Center for the Humanities Martin Dermady’s architectural design for the Mandel Center for the Humanities synthesizes form, structure and function, reflecting the complexity of humanities study. The light installation Campus Constellation, also designed by Dermady, provides a visual focal point for the center’s three-story atrium. A computer algorithm sets the installation’s constantly changing color and pattern. While each lighting element has autonomy, together they work as a unit, just as the humanities disciplines function at Brandeis. Despite its scale, the space feels intimate. Tall windows and a wood-paneled seating area allow for reading or contemplation of the “constellation,” which is visible at night from various outdoor sites on campus, leading the eye to the Mandel Center. — Rebecca D. Pollack ’13

maurice b. hexter, sleeping jennie (circa 1955) Chapels Field Maurice Beck Hexter was born in Cincinnati to German immigrants. He was a lifelong leader in social work and philanthropy, serving as director of the Federation of Jewish Charities and as a member of the United Jewish Campaign commission, which examined social conditions in Russia and Eastern Europe. Hexter played a key role in establishing the Heller School of Social Policy and Management at Brandeis and served on the university’s Board of Trustees. He received an honorary doctorate from Brandeis in 1961. Relatively late in his life, Hexter took up sculpture as a pastime. He also created the distinctive black granite column outside Usdan Campus Center, titled Non-Objective. — Zoe Messinger ’13

rita blitt, inspiration (1993) Epstein Building Rita Blitt’s Inspiration is an abstract work created in painted steel. It was a gift to the Women’s Studies Research Center at Brandeis, and marks the entrance to the center at the edge of the Brandeis campus. In 2005, Inspiration was a prizewinner in the acclaimed Florence Biennale. Layered billowing shapes that contrast with the sculpture's rigid steel evoke an abstraction of a woman, yet are also reminiscent of a bird in flight or hair blowing in the wind. Blitt is known for her monumental sculptures that convey swirling energy and movement, as if time has stood still. Her style speaks to all cultures and people, as she touches on the universal themes of humanity, movement and beauty. — Anna Khazan ’13

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lila katzen, the wand of inquiry (1983) Shapiro Science Center Lila Katzen began her studies in New York at the Art Students League as a painter, and later graduated from Cooper Union. She turned to sculpture in the late 1960s, and by the mid-1970s began to make landscape-sited works in corrosion-resistant Corten steel. In the tradition of David Smith and Richard Serra, Katzen rolled and curled heavy plates of metal, bending steel into shapes that resemble the lightness of paper ribbons. Katzen produced a nine-inch wax model and then a 20-inch stainless-steel maquette for the Brandeis work. For its placement in front of the Rosenstiel Basic Medical Sciences Research Center, she designed curving Corten bases and created the landscaping around them. Later in 1983, Katzen’s recent work was featured in an exhibition at the Rose Art Museum. The Wand of Inquiry, with a central flame-like element, resembles a coiling double helix. Its vertical balances the wide horizontal ribbon that unleashes an invisible force. The textured metal curves with the landscape and rises toward the sky. — Nancy Scott

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nathan rapaport, job (1967) Chapels Field Rapaport’s bronze sculpture of the keening Job stands outside the Berlin Chapel in the architectural grouping of three structures honoring three Western religious faiths: Judaism, Catholicism and Protestantism. The chapels’ design was based on the master plan created by the Finnish architect Eero Saarinen, and they were built by the firm of Harrison Abramovitz in 1955. The figure of Job embodies the weight of his suffering, turning his face toward the sky. In the multiple gathered folds of the cloak, and the clasped hands, Rapaport emphasizes Job’s chaotic disbelief in his abandonment. The sculpture is inscribed with a plaque from the Jewish Holocaust survivors in Boston to honor the memory of those who were sacrificed. The table below the sculpture is inscribed with a verse from Lamentations 3:48: “My eyes shed streams of water over the ruin of my poor people.” — Nancy Scott

jacques lipchitz, birth of the muses (pegasus) (1972) Pollack Fine Arts Teaching Center From the Collection of the Rose Art Museum Jacques Lipchitz was born in Lithuania and studied at the École des Beaux-Arts and the Academie Julian in Paris. The original Birth of the Muses (Pegasus) was commissioned for Nelson Rockefeller’s guesthouse; subsequent casts can be found at MIT and Lincoln Center for the Performing Arts, as well as at Brandeis, where it was dedicated to honor Jack and Lillian Poses, founders of the Poses Institute, the precursor to the Rose Art Museum. In the traditional telling of the Pegasus myth, the horse’s hoof strikes the Helicon spring and creates the Muses with each touch of the water. Lipchitz has the horse touch the top of Mount Olympus; the divine metamorphosis is about to occur, but the Muses await. Lipchitz’s version of the story for the Rockefellers was meant to show the patrons’ deep support of the arts. Today, the bronze conveys the essence of artistic spark, to be displayed as Lipchitz intended, as an exterior relief. — Sarah Hyman ’13

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LEONARD BERNSTEIN FESTIVAL OF THE CREATIVE ARTS ™ APRIL 7-14 Brandeis celebrates the creative spirit in the Festival of the Creative Arts, founded by Leonard Bernstein for the university’s first commencement in 1952. HIGHLIGHTS OF THE 2019 FESTIVAL INCLUDE: april 7

super sunday!

Campuswide music and dance performances, exhibitions, and art activities that the whole family can enjoy. Sponsored by the Office of the Arts. april 10

words and artifacts: treasures of a cuban jewish exile Rapaporte Treasure Hall, Brandeis Library Noted anthropologist and poet Ruth Behard gives a reading and talk. Sponsored by the Hadassah-Brandeis Institute Project in Latin American Jewish & Gender Studies.

april 11-14

the bacchae Spingold Theater Center With vibrant original songs and choreography, this new translation of the Greek tragedy takes a contemporary look at transgression, gender, religious ecstasy, political authority and the psychology of mass violence. Presented by the Department of Theater Arts.

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PHOTOGRAPHS BY MIKE LOVETT

plus: Concerts by the Lydian String Quartet, the Brandeis University Chorus and Chamber Singers, the Brandeis Early Music Ensemble, and premieres of student works performed by the Ludovico Ensemble.

Working the

ANGLES

set design with cameron anderson by

Jarret Bencks

News and Communications Specialist

WHEN ASSISTANT PROFESSOR OF THEATER ARTS

Cameron Anderson designs a set, she strives for it to distill the psychological landscape of the story, and to create a visual metaphorical manifestation of the themes and ideas onstage. “Sometimes that’s overt,” she says. “Sometimes it can involve a beautiful piece of symbolism.” Anderson is an internationally acclaimed scenic designer and has designed extensively at the world’s leading theater and opera companies. Most recently she designed “The Niceties,” a play set in a professor’s office, in which a professor and a student debate race and privilege.

The set Anderson created for that production, which just completed a run at the Manhattan Theatre Club, is loaded with details — shelves packed with books, a large, elegant desk crammed into the small office, and a wall full of posters and photos — but one particular piece stands out: a steeply sloped attic wall that looms over the actors onstage. “I wanted to create a room that expresses the fact that both of these women have so much in common, but they are so far apart,” Anderson says. ”The angles of an attic interested me for their ability to express the tension and the widening gap between women of different generations and experiences. It is at once a realistic place for the play to take place, and a space infused with expressive meaning. It has this enclosed feeling, like they are both being crushed.” Every set Anderson designs starts with a close reading of text and research. She then creates a digital model of the design to show the director and other members of the production team. After their feedback, she builds a 3-D model that includes every detail of the set and stage that is then used throughout the production process and finally by the actors. Anderson was an English major at Wesleyan University when set design came to her attention. As she researched her thesis on Renaissance drama, she became interested in the psychology of architectural and stage space. She then realized that set design might bring together all her interests in one place. She designed a set for a student production, and seeing it completed was a surreal experience. “I felt like I was walking into my own mind,” she says. “I knew right then I wanted to do this.” After graduation, Anderson worked in New York City at the Public Theater before heading to Cincinnati to pursue a master’s at the Conservatory of Music at the University of Cincinnati. She moved back to New York and worked around the world as a freelance set designer before joining the Brandeis faculty in 2012.

PHOTOGRAPH BY MIKE LOVETT

Since she came to campus, Anderson's professional work hasn’t slowed. Recent credits include work for Glimmerglass Opera, the Seattle Opera, San Francisco Opera, Gotham Chamber Opera, Opera Theatre of Saint Louis, Minnesota Opera, Huntington Theatre Company, Trinity Rep and South Coast Repertory. She has also designed productions of “Simon Boccanegra” at the Teatro Colon in Buenos Aires, “West Side Story” for Vancouver Opera, and “West Side Story” for the Kilden Performing Arts Center in Norway.

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creative process on “The Rosenbergs,” a contemporary opera that was performed at Brandeis and at Boston Playwrights’ Theatre. “Staying curious is so important. The professional world of theater is constantly changing,” Anderson says. “Being an artist is all about continually learning.” Anderson’s upcoming projects include “Yerma” at the Huntington Theatre, “Emmeline” at Tulsa Opera, “Madama Butterfly” at the Pacific Symphony, “Photograph 51” at South Coast Repertory, and “La Fille du Régiment” for Opera Saratoga. And at Brandeis, she’ll design the Department of Theater Arts production of “The Bacchae” in April.

LEFT: Anderson's 3-D model for “The Niceties” BELOW: Production still from “The Niceties” OPPOSITE PAGE: Cameron Anderson with her

set model for “The Niceties”

PHOTOGRAPHS BY CAMERON ANDERSON

She often incorporates her ongoing work into her courses. For example, in the spring of 2018 she co-taught a course with associate professor Dmitry Troyanovsky on directordesigner collaboration, and they often shared their

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reimagining

the bacchae with new lyrics for the brandeis production, stephanie fleischmann ignites the ancient greek text

Yair Koas ’19

THE BRANDEIS DEPARTMENT OF THEATER ARTS

production of “The Bacchae” in April is a complex and innovative artistic collaboration. A new translation of the 2,400-year-old play by Joel Christensen ’01, associate professor of classical studies, provides a road map for director Dmitry Troyanovsky, associate professor of theater arts, and scenic designer Cameron Anderson, assistant professor of theater arts. Through the ancient Greek story of Dionysus, whose arrival in Thebes inspires frenzied worship and upends the ordered city-state, the production takes a contemporary look at political tyranny, gender, religious ecstasy and mass violence. New songs written for the production illuminate the story’s emotional heart. Stephanie Fleischmann (lyrics) and Daniel Kluger (music) have worked together around the world, most recently at New York’s Public Theater. Fleischmann has been called a “neo Emily Dickinson” (Backstage) and “a writer who can conjure something between a dreamy road movie and a theatrical comingof-age tale” (Chicago Sun Times). Kluger produces genre-defying scores for stage and film, including the much-praised new orchestrations for “Oklahoma!” STEPHANIE FLEISCHMANN

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Yair Koas ’19 spoke with Fleischmann about her role in creating the world of “The Bacchae.”

yair koas: First off, could you introduce yourself, and say a little bit about your work?

stephanie fleischmann: Sure. I’m a playwright and an opera librettist. As a playwright, I’ve always worked a lot with music and have written many music-theater works. Music has always been a very big part of what I do. I met Dmitry [Troyanovsky] in Russia, where we adapted a novel for the stage. I have worked with Daniel Kluger on a couple of projects. yk: What is the songwriting process for “The Bacchae”? Is it different from other productions you’ve worked on?

sf: This is a new translation, which I’ve been reading as it evolves. It’s a more fluid experience, and also Joel [Christensen] points us to all these scholarly essays about “The Bacchae,” which is a valuable resource. We’re not doing a gospel “Bacchae,” a rhythm-and-blues “Bacchae,” or a pop or disco “Bacchae”; it’s very hybrid in terms of genre. And of course, because the play goes from celebration to absolute darkness, there’s a lot of shift in tone in the music. Structurally, instead of finding places where a song might happen dramatically, I’m setting aside whatever text that the chorus speaks. Text expands when it’s set to music, so if you have half a page of text, that could be a threeminute song. And some of these choral interludes are five pages long, so one has to distill and compress in terms of story and imagery.

yk: From your perspective, why “The Bacchae” now? What drew you to working on this production?

sf: I love the imagery and the language, and I’ve never worked on a play that was so mysterious and so confounding and where there is so much unknown. That strange dichotomy in which there is a freedom and a movement toward getting closer to human experience and expression, versus a mob mentality. That is terrifying to me, and that is a reason to hear it. It’s also very interesting in terms of gender and gender fluidity. If you read some of the essays that Joel dug up for us, [there is a] fluidity of gender in ancient Greece, especially in certain religious rites, and [it was] very present in a way that historically we don’t always acknowledge.

yk: What do you hope audience members take away from the show (and your music)?

sf: I think that song and music is a heightened form and it directly taps into an emotional core. Dmitry creates these pillars of eruption where pure longing can be expressed, or extreme violence, but not in a literal way. With this stylized form of drama, the production needs to live within a certain level of theatricality. There are places of collison, fracturing, explosion, juxtaposition. Putting pure text or spoken text next to non-text is always interesting, [and] interrupting spoken text with song makes for a more exciting and angular form. And then we can pay more attention to the spoken text because we’ve had that break. Yair Koas ’19 is majoring in theater arts and classical studies and is the dramaturge for “The Bacchae,” conducting research and working with the artistic staff in the development of the play.

state of the arts | brandeis university 21

MUSIC UNITES US // The MusicUnitesUS program opens unique pathways to understanding and appreciation across today’s global community. For full residency schedule, visit musicunitesus. info. Concert Tickets: $20/$15/$5.

Dustin Illetewahke Mater “Birdman Soaring Over the Great River,” 2010 giclée print

22 state of the arts | brandeis university

THE

meet the artists

NOTION OF MELODY AN INTERWEAVING OF CULTURE AND SPIRIT

Maori composer Horomona Horo, Australian composer Ian Munro and Chickasaw composer Jerod Impichchaachaaha’ Tate led by

concert: saturday, march 30, 8 pm Pre-concert talk, 7 p.m. residency: march 25-30 The spring 2019 MusicUnitesUS residency brings together an extraordinary gathering of musicians and composers from New Zealand, Australia and the United States. Explorations of musical traditions and their contemporary expressions will catalyze a musical narrative that honors the creativity and artistry of indigenous (first) people from around the world. Collaboration is the powerful core of the residency. In a typical Western-style program, composers would turn over a score to musicians to interpret. MusicUnitesUS director Judith Eissenberg proposes that this gathering of artists could be more of an equitable conversation. To that conversation add the guest artists’ indigenous languages. “The Chickasaw language is really friendly to singers,” Chickasaw composer Jerod Impichchaachaaha’ Tate says. “The sound is probably somewhere between Latin and an Eastern bloc language, a combination of guttural and lyrical sounds.” Eissenberg adds: “How will a Chickasaw song fit with a Maori melody? How will the violin and cello sound with the putorino or koauau maire? These musical questions and explorations mirror the larger challenges in the 21st century as we come face to face with our neighbors.” During the residency week, the artists will visit classes in music, anthropology, comparative literature and Native American legal studies. Members of the public are welcome to join these explorations of music, history and culture.

jerod impichchaachaaha’ tate was born in Norman, Oklahoma, and is a citizen of the Chickasaw Nation. He has received numerous commissions and his works have been performed by the National Symphony Orchestra, Detroit Symphony Orchestra, Minnesota Orchestra and Santa Fe Chamber Music Festival, among others. In 2008 he was appointed cultural ambassador for the State of Oklahoma. horomona horo of New Zealand fuses the traditional sounds, techniques and practices of taonga puoro (singing treasures) within a diverse range of cultural and musical forms. As a composer and collaborator, Horo has represented New Zealand in Europe, Australia, Asia and South America. The Maori cultural magazine Mana has described him as the “master of his generation.” Pianist and composer ian munro is one of Australia’s most distinguished musicians and is the first and only Australian to win the Grand Prix at the Queen Elisabeth Music Competition for composers in Belgium. His works have been frequently broadcast all over Australia, and his career has taken him to over 30 countries in Europe, Asia, North America and Australasia. the quartet wilma smith, violin, is artistic director and violinist of Wilma & Friends, a chamber music series based in Melbourne, Australia. She is founding first violinist of the Lydian String Quartet at Brandeis. gillian ansell, viola, is a founding member of the New Zealand String Quartet and artistic director of the Adam New Zealand Chamber Music Festival. In 2008 she was made a Member of the New Zealand Order of Merit (MNZM) for her outstanding service to music in New Zealand. For over two decades, rhonda rider, cello, was a member of the Lydian String Quartet. She performs and teaches at festivals, including Green Mountain Chamber Music Festival, Tanglewood and the Asian Youth Orchestra (Hong Kong), and has been an artist in residence at the Grand Canyon and Petrified Forest National Parks. judith eissenberg, violin, is second violinist and a founding member of the Lydian String Quartet, and has been a professor of the practice at Brandeis since 1980. She is the founder and director of MusicUnitesUS and is head of chamber music at Boston Conservatory at Berklee. Among Eissenberg’s many international prizes is the Naumburg Award for Excellence in Chamber Music.

The Notion of Melody is a participant in the International Year of Indigenous Languages (IYIL 2019), a UNESCO initiative.

state of the arts | brandeis university 23

robert berks, louis dembitz brandeis (1956) Fellows Garden Whether it’s covered in white snow or bathed in glowing sunlight, the iconic statue of Justice Louis Brandeis atop the outcropping in Fellows Garden seems almost alive. The nine-foot bronze figure, created in 1956 by noted sculptor Robert Berks to commemorate the 100th anniversary of the Supreme Court justice’s birth, appears to capture the university’s namesake in mid-stride. In fact, Berks’ wife, Dorothy, who was Brandeis’ personal assistant for 39 years, donned the justice’s personal robes against a beating wind on New York’s Staten Island Ferry to help the artist envision a sense of motion in his sculpture.

The sculpture has given generations of students and countless campus visitors reason to pause by the outcropping and consider the outsized figure striding headlong into the wind, judicial robes sailing aloft behind him. — Julian Cardillo ’14

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PHOTOGRAPH BY MIKE LOVETT

“He leans on his left leg, peacefully parrying the forces of opposition,” said Berks in a 1991 Boston Globe article about the sculpture. “Yet there is no aggression in his face or hands.”

penelope jencks, student and knowledge (1986) The Brandeis Library Penelope Jencks taught at Brandeis in the 1980s as a Saltzman Visiting Artist, and sculpted “Student and Knowledge” at that time. She has created numerous works in terra cotta, bronze and stone. For this bronze figure, she pursued the casting of clay figures from life, and then fired the full-scale clay figure in a kiln, an innovative process she developed while at Brandeis. Her sculpture is in private and public collections worldwide, but Jencks is perhaps best known for her monumental sculpture of Eleanor Roosevelt in New York City’s Riverside Park. — Jackie Nullman ’13

PHOTOGRAPH BY BRIAN STRICKLAND

ARTS AT BRANDEIS

SPRING 2019 HIGHLIGHTS ONG OING

through may 19 howardena pindell: what remains to be seen

april 5 | undergraduate composers’ collective

Rose Art Museum

april 6 | new music brandeis: ludovico ensemble

february 26-march 20 fine arts majors and minors exhibition

Slosberg Music Center

april 7-14 | leonard bernstein festival of the creative arts™

Dreitzer Gallery, Spingold Theater Center

february 28-june 28 one foot planted | ayelet carmi and meirav heiman Kniznick Gallery, Epstein Building

april 7 | brandeis wind ensemble Slosberg Music Center

Dreitzer Gallery, Spingold Theater Center

april 10 | lydian string quartet: sneak peek

february 12 | artist lecture: amy podmore

Mandel Center for the Humanities Atrium

Goldman-Schwartz Fine Arts Studios, Room 115

april 11 | brandeis early music ensemble

february 13 | undergraduate showcase

Harlan Chapel

Mandel Center for the Humanities Atrium

april 11-14 | the bacchae

february 16-17 | new music brandeis: loadbang

Mainstage Theater, Spingold Theater Center

Slosberg Music Center

april 12 | new music brandeis: ludovico ensemble student works

february 28 | artist talk with ayelet carmi and meirav heiman / opening reception

Slosberg Music Center

Kniznick Gallery, Epstein Building

MA R

april 7 | brandeis jazz ensemble Slosberg Music Center

march 27-april 19 | post-baccalaureate and senior honors painting and sculpture exhibition

FE B

Campuswide

april 13 | lydian string quartet: love and death, part iii

march 3 | solar winds quintet: music and art

Slosberg Music Center

april 14 | brandeis university chorus and chamber singers

march 8 | artist lecture: gina osterloh Goldman-Schwartz Fine Arts Studios, Room 115

Slosberg Music Center

march 10 | andrea segar, violin, with angela kim, piano

april 14 | brandeis-wellesley orchestra Slosberg Music Center

Slosberg Music Center

april 16 | leonard bernstein fellowship recital

march 15 | curator tour: howardena pindell

Slosberg Music Center

Rose Art Museum

april 17 | fafali: music and dance from ghana

march 15-17 | senior festival 2019

Slosberg Music Center

Laurie Theater, Spingold Theater Center

april 29 | curator lecture: denise markonish ’97

march 17 | a tribute to irving fine

Location TBA

Slosberg Music Center

april 30 | brandeis improv collective

march 21 | reading: melissa albert

Slosberg Music Center

Harlan Chapel

march 27 | musicunitesus at mandel Mandel Center for the Humanities Atrium

MAY

may 1 | chamber music recital Slosberg Music Center

march 30 | the notion of melody

may 4-5 | new music brandeis finale: sound icon

Slosberg Music Center (presented by MusicUnitesUS)

Slosberg Music Center

march 31 | the lydian octet Slosberg Music Center

APR

april 1 | artist lecture: taca sui Mandel Center for Humanities, G3

april 2 | let’s make a better world: the jane sapp songbook Slosberg Music Center

Programs, artists and dates are subject to change. For updates and additional arts events, visit brandeis.edu/events/arts.

ALENDA

OF THE

STATE ARTS winter/spring 2019

Your guide to the arts at Brandeis

E-LIST

KNIZNICK GALLERY

Go to brandeis.edu/arts to sign up for Arts at Brandeis newsletter and get regular news and announcements, plus free and discount tickets to arts events across Greater Boston.

The Kniznick Gallery is located in the Epstein Building and is free and open to the public Monday-Friday, 9 a.m.5 p.m., and during WSRC and HBI events. For more information, visit brandeis.edu/wsrc or call 781-736-8102.

TICKETS

PARKING

To buy tickets for events at Spingold Theater Center, Slosberg Music Center or Shapiro Campus Center Theater, visit brandeis.edu/tickets or call 781-736- 3400. The Brandeis Tickets Office in the Shapiro Campus Center is open Monday-Friday, noon-6 p.m., and Saturday, noon-4 p.m. Any person requiring wheelchair or other accommodations should call Brandeis Tickets at 781-736-3400.

Brandeis arts venues are located on Lower Campus within easy walking distance of each other. Free parking is available in the Theater Parking Lot (T Lot). There are accessible parking spaces in front of Spingold Theater, Slosberg Music Center and the Rose Art Museum.

ROSE ART MUSEUM

Admission to the Rose Art Museum is free and open to the public Wednesday-Sunday, 11 a.m.-5 p.m. For more information, visit brandeis.edu/rose or call 781-736-3434. Please note: If you plan to bring a group of more than 15, or any group that may require special attention, please contact Visitor Services Manager Robert Chester, rmchester@brandeis.edu or call 781-736-3442.

For directions and a map of parking locations, go to the Brandeis home page and click on “visit.” SUPPORT THE ARTS AT BRANDEIS Brandeis University relies on the support of alumni and friends to educate the best students, maintain a worldclass faculty, provide state-of-the-art performance and studio facilities, and offer dynamic extracurricular programming. Visit giving.brandeis.edu/arts. OFFICE OF THE ARTS brandeis.edu/office/arts

Nonprofit Org. U.S. Postage

STATE ARTS

PAID

OF THE

Boston, MA Permit No. 15731

Brandeis University | Office of the Arts MS 092 | PO Box 549110 Waltham, MA 02453-2728 brandeis.edu/arts

April 7-14, 2019

LEONARD BERNSTEIN

FESTIVAL CREATIVE ARTS OF THE

brandeis.edu/arts/festival