Manifesto by Park Avenue Armory

NOTHING IS ORIGINAL

WELCOME Manifesto is a singular work of creative vision, which furthers the Armory’s tradition of mounting multidisciplinary projects that defy categorization. Drawing on the writings of Futurists, Dadaists, Fluxus artists, Suprematists, Situationists, and other artist groups, Julian Rosefeldt has woven together their ideas with the musings of individual artists, architects, dancers, and filmmakers such as Yvonne Rainer, Kazimir Malevich, Andre Breton, Sol LeWitt, Jim Jarmusch, and other influencers. The result is a collage of artistic declarations, each with its own unique style that beautifully pays tribute to iconic film directors. Performed as a contemporary call to action, actress Cate Blanchett inhabits 13 different personas while imbuing new dramatic life into these familiar and lesser known words. I am thrilled that Julian Rosefeldt’s tribute to the tradition and literary beauty of artist manifestos can open my first season at the Armory. This unique hybrid of cinema, visual art, and theater is remarkable in its need for space—the physical space to mount the 13 large-scale screens as well as the personal space required to fully immersive the viewer in the ideas addressed in its searing source material. It is remarkable that these words—remixed into a contemporary context—can have as much relevancy and impact as when they were first expressed. I hope you will join me in this remarkable rediscovery. Pierre Audi Artistic Director In 2017, Park Avenue Armory celebrates 10 years as New York’s newest cultural institution. The mission of our not-for-profit entity is to support unconventional works in the performing and visual arts that cannot be performed in a traditional proscenium theater, concert hall, or white wall gallery. With its soaring, column-free, 55,000-square-foot Drill Hall and its Gilded Age period rooms, the Armory enables artists to create, students to explore, and audiences to experience, epic and adventurous work that cannot be done elsewhere in New York. The Armory’s evolution as a major provider of unexpected, immersive, and eclectic cultural productions began as an experiment. It has now become a fixture in the cultural life of New York. Perhaps The New York Times said it best in 2016 when they proclaimed: “…few cultural institutions have been as adept at pushing the cultural FOMO button, triggering that ‘fear of missing out’ that New Yorkers hate.” On behalf of Artistic Director Pierre Audi and the Board of Directors of the Armory, we hope that 2017 continues to push the boundaries even further. Rebecca Robertson President & Executive Producer

Cover Image: Julian Rosefeldt, Manifesto, 2015 © Julian Rosefeldt and VG Bild-Kunst, Bonn

JULIAN ROSEFELDT

MANIFESTO december 7, 2016 - january 8, 2017 13-channel film installation, 2015 HD-Video 2-channel sound Aspect ratio 16:9 12 x 10 min 30 sec and 1 x 4 min loop with Cate Blanchett Executive Producer: Wassili Zygouris Director of Photography: Christoph Krauss Production Designer: Erwin Prib Costume Designer: Bina Daigeler Make-up Artist for Cate Blanchett: Morag Ross Hair Design Artist for Cate Blanchett: Massimo Gattabrusi Gaffer: Christoph Dehmel-Osterloh Sound Recordist: David Hilgers Puppet Master: Suse Wächter Editor: Bobby Good Postproduction Supervisor: Jan Schöningh Supervising Sound Editors: Markus Stemler, Fabian Schmidt Written, directed, and produced by Julian Rosefeldt All rights reserved © Julian Rosefeldt

Manifesto is supported in part by Ken Kuchin and Tyler Morgan, Mimi Klein Sternlicht, Jill and Peter Kraus, and by public funds from the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Support for Park Avenue Armory’s artistic season has been generously provided by The Andrew W. Mellon Foundation, the Altman Foundation, The Harold and Mimi Steinberg Charitable Trust, the Fan Fox and Leslie R. Samuels Foundation, The Shubert Foundation, the Marc Haas Foundation, The Kaplen Brothers Fund, the Juliet Lea Hillman Simonds Foundation, the Leon Levy Foundation, the May and Samuel Rudin Family Foundation, and the Isak and Rose Weinman Foundation.

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MANIFESTO SCENES 1. Burning fuse PROLOGUE Karl Marx / Friedrich Engels, Manifesto of the Communist Party (1848) Tristan Tzara, Dada Manifesto 1918 (1918) Philippe Soupault, Literature and the Rest (1920) 2. Homeless man SITUATIONISM Lucio Fontana, White Manifesto (1946) John Reed Club of New York, Draft Manifesto (1932) Constant Nieuwenhuys, Manifesto (1948) Alexander Rodtschenko, Manifesto of Suprematists and Non-Objective Painters (1919) Guy Debord, Situationist Manifesto (1960) 3. Tattooed punk STRIDENTISM / CREATIONISM Manuel Maples Arce, A Strident Prescription (1921) Vicente Huidobro, We Must Create (1922) Naum Gabo / Anton Pevzner, The Realist Manifesto (1920) 4. Choreographer FLUXUS / MERZ / PERFORMANCE Yvonne Rainer, No Manifesto (1965) Emmett Williams, Philip Corner, John Cage, Dick Higgins, Allen Bukoff, Larry Miller, Eric Andersen, Tomas Schmit, Ben Vautier (1963-1978) George Maciunas, Fluxus Manifesto (1963) Mierle Laderman Ukeles, Maintenance Art Manifesto (1969) Kurt Schwitters, The Merz Stage (1919) 5. Funeral speaker DADAISM Tristan Tzara, Dada Manifesto 1918 (1918) Tristan Tzara, Manifesto of Monsieur Aa the Antiphilosopher (1920) Francis Picabia, Dada Cannibalistic Manifesto (1920) Georges Ribemont-Dessaignes, The Pleasures of Dada (1920) Georges Ribemont-Dessaignes, To the Public (1920) Paul Éluard, Five Ways to Dada Shortage or two Words of Explanation (1920) Louis Aragon, Dada Manifesto (1920) Richard Huelsenbeck, First German Dada Manifesto (1918) 6. Broker FUTURISM Filippo Tommaso Marinetti, The Foundation and Manifesto of Futurism (1909) Giacomo Balla, Umberto Boccioni, Carlo Carrà, Luigi Russolo, Gino Severini, Manifesto of the Futurist Painters (1910) Guillaume Appollinaire, The Futurist Antitradition (1913) Dziga Vertov, WE: Variant of a Manifesto (1922) armoryonpark.org

7. Conservative mother with family POP ART Claes Oldenburg, I am for an Art… (1961) 8. Scientist SUPREMATISM / CONSTRUCTIVISM Naum Gabo / Anton Pevzner, The Realistic Manifesto (1920) Kazimir Malevich, Suprematist Manifesto (1916) Olga Rozanova, Cubism, Futurism, Suprematism (1917) Alexander Rodtschenko, Manifesto of Suprematists and Non-Objective Painters (1919) 9. Newsreader and reporter CONCEPTUAL ART / MINIMALISM Sol LeWitt, Paragraphs on Conceptual Art (1967) Sol LeWitt, Sentences on Conceptual Art (1969) Sturtevant, Shifting Mental Structures (1999) Sturtevant, Man is Double Man is Copy Man is Clone (2004) Adrian Piper, Idea, Form, Context (1969) 10. Worker in a garbage incineration plant ARCHITECTURE Bruno Taut, Down with Seriousism! (1920) Bruno Taut, Daybreak (1921) Antonia Sant’Elia, Manifesto of Futurist Architecture (1914) Coop Himmelb(l)au, Architecture Must Blaze (1980) Robert Venturi, Non-Straightforward Architecture: A Gentle Manifesto (1966) 11. Puppeteer SURREALISM / SPATIALISM André Breton, Manifesto of Surrealism (1924) André Breton, Second Manifesto of Surrealism (1929) Lucio Fontana, White Manifesto (1946) 12. CEO at a private party VORTICISM / BLUE RIDER / ABSTRACT EXPRESSIONISM Wassily Kandinsky / Franz Marc, Preface to the Blue Rider Almanac (1912) Barnett Newman, The Sublime is Now (1948) Wyndham Lewis, Manifesto (1914) 13. Teacher FILM / EPILOGUE Stan Brakhage, Metaphors on Vision (1963) Jim Jarmusch, Golden Rules of Filmmaking (2002) Lars von Trier / Thomas Vinterberg, Dogma 95 (1995) Werner Herzog, Minnesota Declaration (1999) Lebbeus Woods, Manifesto (1993) – Epilogue

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ABOUT THE MOVEMENTS ABSTRACT EXPRESSIONISM Abstract expressionism is the term applied to new forms of abstract art developed by American painters in the 1940s and 1950s, often characterized by gestural brush-strokes or markmaking, and the impression of spontaneity. The abstract expressionists were mostly based in New York City, and also became known as the New York school. The name evokes their aim to make art that while abstract was also expressive or emotional in its effect. They were inspired by the surrealist idea that art should come from the unconscious mind, and by the automatism of artist Joan Miró. Within abstract expressionism were two broad groupings: the action painters (who attached their canvases with expressive brush strokes); and the painters who filled their canvases with abstract forms and fields of color. The action painters were led by Jackson Pollock and Willem de Kooning, who worked in a spontaneous improvisatory manner often using large brushes to make sweeping gestural marks. Pollock famously placed his canvas on the ground and danced around it pouring paint from the can or trailing it from the brush or a stick. In this way, the action painters directly placed their inner impulses onto the canvas. The second grouping included Mark Rothko, Barnett Newman and Clyfford Still. They were deeply interested in religion and myth and created simple compositions with large areas of a single color intended to produce a contemplative or meditational response in the viewer. This approach to painting developed to what became known as color field painting, characterized by artists using large areas of more or less a single flat color. BLUE RIDER The Blue Rider (“Der Blaue Reiter”) was a German expressionist group originating in Munich in 1909. A number of avant-garde artists living in Munich had founded the Neue Künstler Vereiningung, or New Artist Association (N.K.V.) In 1911, Wassily Kandinsky and Franz Marc broke with the rest of the N.K.V. and in December that year held in Munich the first exhibition of “Der Blaue Reiter.” This was an informal association rather than a coherent group, with other artists closely involved including Paul Klee and August Macke. In 1912, Marc and Kandinsky published a collection of essays on art with a woodcut cover by Kandinsky entitled Almanach Der Blaue Reiter. While it is not entirely clear why the name was chosen, Marc adored horses and his many paintings of them and other animals are symptomatic of the turning back to nature (an aspect of primitivism) of many early modern artists. Kandinsky apparently had always been fascinated by riders on horseback as horses are symbols of power, freedom, and pleasure. Additionally, blue is a color which has often seemed of special importance to artists and for Kandinsky and Marc, whose favorite color it was, it seems to have had a mystical significance. 4

Blue Rider was brought to an end by the First World War in which both Macke and Marc were killed. CONCEPTUAL ART Conceptual art is art for which the idea behind the work is more important than the finished art object itself. A concept is an idea or thought, so the term conceptual art means literally “idea art”—or art about ideas. Conceptual art can be—and can look like—almost anything. This is because, unlike a painter or sculptor who will think about how best they can express their idea using paint or sculptural materials and techniques, a conceptual artist uses whatever materials and whatever form is most appropriate to putting their idea. The art movement emerged in the mid-1960s and continued until the mid-1970s. It was an international art movement happening more or less simultaneously across Europe, North America and South America. Artists associated with the movement attempted to bypass the increasingly commercialized art world by stressing thought processes and methods of production as the value of the work. The art forms they used were often intentionally those that do not produce a finished object such as a sculpture or painting. This meant that their work could not be easily bought and sold and did not need to be viewed in a formal gallery situation. It was not just the structures of the art world that many conceptual artists questioned, there was often a strong socio-political dimension to much of the work they produced, reflecting wider dissatisfaction with society and government policies. Some of the main artists associated with the conceptual art movement are: Art & Language, John Baldessari, Joseph Beuys, Marcel Broodthaers, Victor Burgin, Michael CraigMartin, Gilbert & George, Mary Kelly, Yves Klein, Joseph Kosuth, John Latham, Richard Long and Piero Manzoni. The origins and influences of conceptual art reach beyond these two decades. Marcel Duchamp is often seen as an important forefather of conceptual art, and his readymade Fountain of 1917 cited as the first conceptual artwork. The influence of conceptual art also stretches way beyond the early 1970s with contemporary artists such as Martin Creed, who is often referred to as a conceptual artist, championing the importance of the idea and process of art making over the art object. CONSTRUCTIVISM Constructivism was a particularly austere branch of abstract art founded by Vladimir Tatlin and Alexander Rodchenko in Russia around 1915. The constructivists believed art should directly reflect the modern industrial world. Tatlin was crucially influenced by Pablo Picasso’s cubist constructions (Construction, 1914) which were three-dimensional still-life works made of scrap

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materials. Tatlin began to make his own works, but they were completely abstract and made of industrial materials. By 1921, Russian artists who followed Tatlin’s ideas were calling themselves constructivists and in 1923 a manifesto was published in their magazine Lef. Constructivism was suppressed in Russia in the 1920s but was brought to the West by Naum Gabo and his brother Antoine Pevsner and has been a major influence on modern sculpture CREATIONISM Creationism (“creacionismo”) was a literary movement based on the idea of a poem as a truly new thing, created by the author for the sake of itself—not to praise another thing, not to please the reader, not even to be understood by its own author. Initiated by Chilean poet Vicente Huidobro around 1912, creationism was defined as “a general aesthetic theory” rather than a school of art, and should not be a commentary as something written about something else. Creationist poetry was by its own nature universal and universally translatable, while elements that prevail in noncreationist poetry, such as the rhyme and rhythm of the text, vary among languages and cannot be easily translated, thus causing the poem to lose part of its essence. He cited as inspiration some “admirable poems” of Tristan Tzara, though their “creation” is more formal than fundamental, and also some works by Francis Picabia, Georges Ribémont Dessaignes, Paul Éluard, and the Spanish poets Juan Larrea and Gerardo Diego. DADAISM Dadaism was an art movement formed during the First World War in Zurich as a revolt to the horrors and folly of the war. The art, poetry, and performance produced by dada artists is often satirical and nonsensical in nature. Dada artists felt the war called into question every aspect of a society capable of starting and then prolonging it—including its art. Their aim was to destroy traditional values in art and to create a new art to replace the old. In addition to being anti-war, dadaism was also anti-bourgeois and had political affinities with the radical left. The founder of dada was a writer, Hugo Ball, started a satirical night-club in Zurich, the Cabaret Voltaire, in 1916 and a magazine, the first of many dada publications. Dada became an international movement and eventually formed the basis of surrealism in Paris after the war. Leading artists associated with the movement include Hans Arp, Marcel Duchamp, Francis Picabia, Tristan Tzara, and Kurt Schwitters. Duchamp’s questioning of the fundamentals of Western art had a profound subsequent influence. armoryonpark.org

FLUXUS Fluxus is an international avant-garde collective or network of artists and composers founded in the1960s but still continuing today. Founded by the Lithuanian/American artist George Maciunas, Fluxus began as a small but international network of artists and composers who challenged accepted ideas about what art is. Characterized as a shared attitude rather than a movement and rooted in experimental music, it was named after a magazine which featured the work of musicians and artists centered around avant-garde composer John Cage. The Latin word Fluxus means flowing, in English a flux is a flowing out. Fluxus founder Maciunas said that the purpose of Fluxus was to “promote a revolutionary flood and tide in art, promote living art, anti-art.” Fluxus had no single unifying style, with artists used a range of media and processes to adopt a “do-it-yourself ” attitude to creative activity, often staging random performances and using whatever materials were at hand to make art. Seeing themselves as an alternative to academic art and music, Fluxus was a democratic form of creativity open to anyone. Collaborations were encouraged between artists and across art forms, and also with the audience or viewer. It valued simplicity and anticommercialism, with chance and humor playing a big part in the creation of works. The major centers of Fluxus activity were New York, Germany, and Japan. Almost every avant-garde artist of the time took part in Fluxus, including Joseph Beuys, Dick Higgins, Alice Hutchins, Yoko Ono, Nam June Paik, Ben Vautier, Robert Watts, Benjamin Patterson and Emmett Williams. Fluxus played an important role in opening up the definitions of what art can be. It has profoundly influenced the nature of art production since the 1960s, which has seen a diverse range of art forms and approaches existing and flourishing side-byside. FUTURISM Futurism was an Italian art movement of the early twentieth century that aimed to capture in art the dynamism and energy of the modern world. The movement was launched by the Italian poet Filippo Tommaso Marinetti, who published his Manifesto of Futurism on the front page of the Paris newspaper Le Figaro on February 20, 1909. Among modernist movements, futurism was exceptionally vehement in its denunciation of the past with the weight of past culture being felt as particularly oppressive. What the futurists proposed instead was an art that celebrated the modern world of industry and technology: Futurist painting used elements of neo-impressionism and cubism to create compositions that expressed the idea of the dynamism, the energy, and movement, of modern life. Chief

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artists associated with futurism were Giacomo Balla, Umberto Boccioni, Gino Severini. MERZ Merz is a nonsensical word invented by the German dada artist Kurt Schwitters to describe his collage and assemblage works based on scavenged scrap materials. Schwitters made large numbers of small collages and more substantial assemblages in this medium. He is said to have extracted the word Merz from the name Commerz Bank which appeared on a piece of paper in one of his collages. He founded a dada group in Hanover where he was based from 1919, where he created his first Merzbau (Merz building). This was his own house, which he filled with about forty “grottoes” —constructions actually attached to the interior fabric of the building and even extending through windows. In 1937 after his work had been included in the Degenerate Art Exhibition, he fled Germany for Norway. There he created a second Merzbau. In 1940, he found refuge in England where he started a third Merzbau at Ambleside in the Lake District. The first Merzbau was destroyed in the Second World War, the second by fire in 1951, and the third was left unfinished at his death in 1947. It is now preserved in the Hatton Gallery of the University of Newcastle upon Tyne. MINIMALISM Minimalism is an extreme form of abstract art developed in the U.S. in the 1960s and typified by artworks composed of simple geometric shapes based on the square and the rectangle. Minimalism or minimalist art can be seen as extending the abstract idea that art should have its own reality and not be an imitation of some other thing. We usually think of art as representing an aspect of the real world (a landscape, a person, or even a tin of soup!); or reflecting an experience such as an emotion or feeling. With minimalism, no attempt is made to represent an outside reality; the artist wants the viewer to respond only to what is in front of them. The medium or material from which it is made, and the form of the work is the reality. Minimalism emerged in the late 1950s when artists such as Frank Stella, whose Black Paintings were exhibited at the Museum of Modern Art in New York in 1959, began to turn away from the gestural art of the previous generation. It flourished in the 1960s and 1970s with Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Agnes Martin, and Robert Morris becoming the movement’s most important innovators. The development of minimalism is linked to that of conceptual art (which also flourished in the 1960s and 1970s). Both movements challenged the existing structures for making, disseminating and viewing art and argued that the importance given to the art object is misplaced and leads to a rigid and elitist art world which only the privileged few can afford to enjoy. Aesthetically, minimalist art offers a highly purified form of beauty. It can also be seen as representing such qualities as truth (because it does not pretend to be anything other than what it is), order, simplicity and harmony. 6

POP ART Pop art is an art movement drawing inspiration from sources in popular and commercial culture such as advertising, Hollywood movies, and pop music. Emerging in the mid 1950s in Britain and late 1950s in America, pop art reached its peak in the 1960s. It began as a revolt against the dominant approaches to art and culture and traditional views on what art should be. Young artists felt that what they were taught at art school and what they saw in museums did not have anything to do with their lives or the things they saw around them every day. Instead they turned to these sources for their imagery. Critics were horrified by the pop artists’ use of such “low” subject matter and by their apparently uncritical treatment of it. In fact, pop both took art into new areas of subject matter and developed new ways of presenting it in art and can be seen as one of the first manifestations of postmodernism. Chief pop artists in America were Roy Lichtenstein, Claes Oldenburg, Andy Warhol; and in Britain, Peter Blake, Patrick Caulfield, Richard Hamilton, David Hockney, Allen Jones, and Eduardo Paolozzi. In Europe a similar movement was called nouveau realism (new realism). SITUATIONISM Situationism was a revolutionary alliance of European avantgarde artists, writers, and poets in the late 1950s to early 1970s that wished to supersede the categorization of art and culture as separate activities and to transform them into part of everyday life. Influenced by Dada, Marxism, Surrealism, and Lettrism, the group wanted to break down the division between artists and consumers and make cultural production a part of the every day. Leading figure of the movement Guy Debord identified consumer society as the Society of the Spectacle in his influential 1967 book of that title. The group also prominently included the former Asger Jorn, Constant, and Ralph Rumney. At first, they were principally concerned with the “suppression of art.” From 1962, the Situationists increasingly applied their critique not only in culture but to all aspects of capitalist society. The Situationists rediscovered the history of the anarchist movement and drew inspiration from Spain, Kronstadt, and the Makhnovists, looking to a world-wide proletarian revolution to bring about the maximum pleasure. SPATIALISM Spatialism (“Spazialismo”) was an Italian movement stating that art should embrace science and technology. The movement was launched in 1947 after the Argentine-born Italian artist Lucio Fontana returned to Italy with the first Manifiesto Spaziale (“spatialist manifesto”). In this, and in the several more that followed, Fontana developed the ideas of the Manifiesto Blanco issued at the Altamira Academy in Buenos Aires the year before, calling for an art that embraced science and technology and that made use of such things as neon light, radio, and television.

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In 1949 Fontana installed his Ambiente Spaziale at the Galleria del Naviglio in Milan. It consisted of an abstract object painted with phosphorescent paint and lit by a neon light, and was a pioneering example of what became known as installation art. He subsequently went on to make the works on canvas to which he gave the generic title of Concetto Spaziale (“spatial concept”), although continuing to make installations using light. The basis of the works was the piercing, or later slashing with a razor, of the canvas to create an actual dimension of space. Fontana made a long series of these and extended the idea into sculpture in his Concetto Spaziale, Natura series. Other Spazialismo artists included Gianni Dova and Roberto Crippa. STRIDENTISM Stridentism (“Estridentismo”) was a Mexican avant-garde movement which celebrated technology and modernity and attempted to transform everyday experiences through performance, pranks, and absurdist events. The movement emerged during the Mexican Revolution, founded in Mexico City in 1921 by the poet Manuel Maples Arce. The art they produced sought to reinvent and reinvigorate Mexican cultural life, and shared some of the characteristics of futurism and Dadaism, with its championing of modernity and staging of performance events. It dispersed in 1928. Artists associated with stridentism include Fermín Revueltas, Ramón Alva de la Canal, Leopoldo Méndez, Jean Charlot, and Germán Cueto. SUPREMATISM Suprematism was the name given by the Russian artist Kazimir Malevich to the abstract art he developed beginning in 1913, characterised by basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colours

SURREALISM Surrealism was a movement which began in the 1920s of writers and artists who experimented with ways of unleashing the subconscious imagination. The aim of surrealism was to reveal the unconscious and reconcile it with rational life. Two broad types of surrealism can be seen: the oneiric (dream-like imagery) and automatism (a process of making which unleashed the unconscious by drawing or writing without conscious thought). French poet André Breton launched this movement in Paris in 1924. Key artists involved in the movement were Salvador Dalí, Max Ernst, René Magritte, and Joan Miró. Some (such as Max Ernst) used new techniques such as frottage and collage to create unusual imagery. They were strongly influenced by Sigmund Freud (the founder of psychoanalysis) and his theories about the unconscious. The movement could be seen internationally, including British surrealism which formed in 1936. Despite not directly referencing popular culture, surrealism has had a great amount of influence on literature, design and cinema. VORTICISM Vorticism was essentially the British equivalent to futurism, yet was deeply hostile to the futurists. The vorticists were a British avant-garde group formed in London in 1914 with the aim of creating art that expressed the dynamism of the modern world. The group was founded by the artist, writer, and polemicist, Wyndham Lewis in 1914. Their only group exhibition was held in London the following year. Vorticism was launched with the first issue (of two) of the magazine Blast which contained among other material two aggressive manifestos by Lewis “blasting” what he considered to be the effeteness of British art and culture and proclaiming the vorticist aesthetic.

The first actual exhibition of suprematist paintings was in December 1915 in St. Petersburg, at an exhibition called O.10. The exhibition included thirty-five abstract paintings by Malevich, among them the famous black square on a white ground (Russian Museum, St Petersburg) which headed the list of his works in the catalogue.

Vorticist painting combines cubist fragmentation of reality with hard-edged imagery derived from the machine and the urban environment. Other artists involved with the group were Lawrence Atkinson, Jessica Dismorr, Cuthbert Hamilton, William Roberts, Helen Saunders, Edward Wadsworth, and the sculptors Sir Jacob Epstein and Henri Gaudier-Brzeska. David Bomberg was not formally a member of the group but produced major work in a similar style.

Out of the “suprematist square” as he called it, Malevich developed a whole range of forms including rectangles, triangles, and circles often in intense and beautiful colors. These forms are floated against a usually white ground, and the feeling of color in space in suprematist painting is a crucial aspect of it.

The First World War brought vorticism to an end, although in 1920 Lewis made a brief attempt to revive it with Group X. The horrors of war brought about a rejection of the avant-garde and other pre-war movements, in favor of more traditional and reassuring approaches to art making, known as return to order.

Suprematism was one of the key movements of modern art in Russia and was particularly closely associated with the Revolution. After the rise of Stalin from 1924 and the imposition of socialist realism, Malevich’s career languished. In his last years before his death in 1935, he painted realist pictures. In 1919 the Russian artist El Lissitsky met Malevich and was strongly influenced by suprematism, as was the Hungarian born Laszlo Moholy-Nagy. armoryonpark.org

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FILM CREDITS MANIFESTO

with Cate Blanchett Heads of Departments Executive Producer: Wassili Zygouris Director of Photography: Christoph Krauss Production Designer: Erwin Prib Costume Designer: Bina Daigeler Make-up Artist for Cate Blanchett: Morag Ross Hair Design Artist for Cate Blanchett: Massimo Gattabrusi Gaffer: Christoph Dehmel-Osterloh Sound Recordist: David Hilgers Puppet Master: Suse Wächter Editor: Bobby Good Postproduction Supervisor: Jan Schöningh Supervising Sound Editors: Markus Stemler, Fabian Schmidt Director’s Department 1st Assistant Director: Chris Tromboukis 2nd Assistant Director: Caroline Veyssiere Dramaturgical Advisor: Janaina Pessoa 2nd 2nd Assistant Director: Mayra Magalhães 3rd Assistant Director: Fabian Götz 2nd 3rd A Assistant Director: Hélène Delage Script Supervisor / Continuity: Anne Kodura Personal Assistant to Julian Rosefeldt: Viktor Jakovleski Personal Assistant to Cate Blanchett: Lydia Korndörfer Production Department Produced by: Julian Rosefeldt Executive Producers: Wassili Zygouris Marcos Kantis (Schiwago Film GmbH), Martin Lehwald (Schiwago Film GmbH), Commissioning Editor: Cornelia Ackers (Bayerischer Rundfunk) Line Producer: Wassili Zygouris Production Supervisor: Anna K. Guddat (Schiwago Film GmbH) Location Manager: Michael Herbell Production Coordinator: Louise von Johnston Production Assistant: Katarina Cvitic Set Manager: Sven Jorden Assistants Set Manager: Anna Klöble, Christian Rost Set Runners: Leonard Hadrich, Aileen Zimmermann, Yara Behrens Head Accountant: Monika Wank Accountant/Payroll: Marion Sigusch Assistant Upton Family: Julia Scheurer Location Scout: Roland Gerhardt

Camera Department Director of Photography: Christoph Krauss 2nd Unit Cameraman: Axel Fischer Steadicam Operators: Matthias Biber, Richard Eckes, Benjamin Treplin 1st Assistant Camera A-Cam: Frederik Tegethoff 1st Assistant Camera B-Cam: Gregor Grieshaber 2nd Assistant Camera A-Cam: Paul Gredig 2nd Assistant Camera B-Cam: Julian Rabus, Laurence Heintz Digital Imaging Technician: Maximilian Link Still Photographer: Barbara Schmidt Making Of: Cristian Pirjol Art Department Production Designer: Erwin Prib Set Decorator: Melanie Raab Prop Master: Dorothea Schiefeling Assistant Prop Master: Olga Kostka Props Buyer / Driver: Thommy Schlegel St/by Props: David Thummerer Assistant St/by Props: Katharina Kluge Art Department Assistant: Margherita Allorio Set Dressers: Hubert Böck, Ingwer Neitzel, Ludwig Schult, Felix Mathias Ott, Nathalie Wild, Andi Heinrich, Sarah Wibbeler Graphics: Sabine Steinhoff Set Painter: Eva Maria Müller Puppet Master: Suse Wächter Costume Department Costume Designer: Bina Daigeler Assistant Costume Designer: Daniela Backes Wardrobe: Alexandra Hannemann, Anne Sophie Velten Hair and Make-Up Department Make-up Artist for Cate Blanchett: Morag Ross Hair Design Artist for Cate Blanchett: Massimo Gattabrusi Make-up and Hair Artists: Katharina Thieme, Sonia Salazar Delgado Additional Make-Up Artist: Karla Meirer Tattoo for Cate Blanchett: Tobias Werner Production Sound Department Sound Recordist: David Hilgers Boom Operator: Gero Renner Editing Editor: Bobby Good Colorist: Jan Schöningh Lighting Department Gaffer: Christoph Dehmel-Osterloh Best Boy: Florian Birch Electrician: Daniel Lasius Thompson Arts Center at Park Avenue Armory

Junior Electrician: Katrin Lehmacher Additional Electrician: Thomas Hofmann Grip Department Key Grip: Klaus Witt Grip: Bat Gankhuyag Crane Operator: Jerome Lauer Grip Assistants: Laure Gilquin, Elias Heiduk Post-Production Post-Production Supervisor: Jan Schöningh CG Artists: Jan Piccart, Christian Pundschus Futurism scene by Rise FX: VFX Supervisor: Florian Gellinger VFX Set Supervisor: Bastian Hopfgarten CG Artists: Oliver Schulz, Pascal Xander Compositing: Steffen Richter Matchmoving: Denis Trutanic Coordinator: Robert Aldag Post-Production Sound Re-Recording Mixers and Supervising Sound Editors: Markus Stemler, Fabian Schmidt Sound Designers: Markus Stemler, Fabian Schmidt, Hanse Warns, Alexander Buck, Kuen il Song Foley Artist: Carsten Richter Foley Mixer: Marcus Sujata ADR Recording: Alexander Buck, Kuen il Song ADR Voices: Prue Densem, Jeff Wood, Mayra Magalhães, Sophie C. Dyer, Rosie Eveleigh, Matthew Coleman, Stewart Tryster, Mark Corrigan, Soma Pysall, Alexander Bähnk, Bryn Chainey, David Frush, Grayson Millwood, Anita Walter, Megan Gay, Daniel Iribarren, Ben Lightowlers Additional Drums for backstage scene: Karl Ventulett Voice Over Recording for Cate Blanchett: Ben Lightowlers Transportation Department Personal Driver for Cate Blanchett: Wolfgang “Wuff” Hütter Production Drivers: Ilja Kloppenburg, Daniel Janssen, Ioannis Tsakmakadis Motion Control/Phantom Camera by Master Moves Motion Control Motion Control Supervisor: Marcel Neumann Motion Control Operators: Heiko Matting, Pascal Rossow Phantom Flex 4K Operator: Marcel Reategui Phantom Flex 4K Technician: Thorsten Reimer Slow Motion Cinematography for Intro Scene (burning fuse): Viktor Jakovleski

Aerial Images by PHX-Pictures Drone Pilot: Ben Tewaag Camera Operator: David Schlange Best Boy: Marcus Gelhard Cam Car by MCC Fahraufnahmen GmbH Cam Car Operator: Leo Plank Special FX by Nefzer Babelsberg GmbH SFX Coordinator: Klaus Mielich Head Pyrotechnician: Paul Marcus Preussing SFX Foreman: Bernd Reutenberg SFX Technician: Thomas Thiele Catering Filmissimo GmbH: Michael Tausch MANIFESTO SCENES Situationism – Homeless man Double for Cate Blanchett: Katharina Lattermann Extras: Marie Borkowski Foedrowitz, Hannelore Ohlendorf, Marita Michaelis, Erika Bauer, Karl Dietrich, Ottokar Sachse Futurism – Broker Extras: Max Burger, Thorsten Albertz, Alexander G. Yassin, Andreas Flechs, Andy Wong, Beatrix Seewaldt, Bertil Sjamsi, Carlo Wanka, Carolin Büttner, Cassandra Pope, Christian Donner, Christian Ernsdörfer, Emi Matsumori, Evan Marchman, Frank Trollst, Hartmut Fleischmann, Hartmut Schuler, Huiling Zhu, Imre Marton, Janine Kauk, Jerémias Franca, Jochen Pfister, Kathleen Tronnier, Kevin Neumann, Klaus Schmitt, Lars Weißenfeldt, Manish Patni, Michael Schoeler, Nicola Romare, Omio Horo, Peter Trzka, Philip Broesamle, S. M. Wahidul Alam, Sascha Gebauer, Yen An Hauw, Jan Böhme Architecture – Worker in a garbage incineration plant Double for Cate Blanchett: Ulrike Harbort Extras: Diogo Pereira, Mechthild Brückner, Rainer Bergmann, Lenard Mason Berliner Stadtreinigung (BSR): Krzysztof Baranowski, Norman Cerajewski, Wolfgang Doering, Martin Grünefeldt, Sebastian Harnisch, André Heidemann, David Homuth, Zeljko Novak, Christian Roy Suprematism / Constructivism – Scientist Doubles for Cate Blanchett: Ulrike Harbort, Olga Kostka Extras: Mayra Magalhães, Olga Kostka, Anthony Byrd, Chikako Kitagawa, Marion Schulz, Raffaele Sellitto, Sydney Klein, Airlangga A. J. S. Tjakraatmadja, Arlette

Vander Pan, Reinhard Ferber, Sebastian Kriesch, Stefanie Kautz, Thao Tran

Schikora, Jürgen Müller, Janina Bellach, Volker Bringmann

Dadaism – Funeral speaker Musicians: Luanda Magalhães Bem (clarinet), Benjamin Weidekamp (clarinet), Paul Brody (trumpet), Magnus Schriefl (trumpet), Vinzenz Jander (trombone), Dieter Fischer (tuba), Hans-Jörn Brandenburg (cymbals), Joe Bauer (snare drums) Extras: Janaina Magalhães Pessoa, Leon Magalhães Schoyerer, Wolfgang Schoyerer, Thierry Leviez, Ricardo Fraya, Sveva Castelli, Jacob Castelli, Maximilian Werkhausen, Georgina Rowse, Marie-France Rafael, Horst Klöver, Gioia Brandenburg, Degenhard Andrulat, Stefan Becker, Astrid Becker, Percy Becker, Lennart Holst, Babette Marie Werner, Peter Koziel, Jürgen Lucius, Claus Niederländer, Cornelia Leschke, Johannes Bruck, Friedrich Müller, Thomas Müller, Clara Schuessler, Louisa Schuessler, Eric Hermann, Martin Schuessler, Gabriel Malaev, Alice Zacherl, Richard Rotthaus, Andreas Ritter, Ivelina Stoyanova, Ilona Sobetzki, Veronika Lau, Blanca von Hardenberg, Brigitte Guhl, Aine O’Dwyer, Hans Wiessmann, Joachim Rüstig, Madalena Faria, Hamid Rahnama, Eberhard Päller, Rebecca Hoffmann, Eugene Peppers, Ralf Tempel, Herwig Andres, Akiko Hitomi

Fluxus / Merz / Performance – Choreographer Extras: Servan Durmaz, Sascha Vorpahl, Rafeu Ahmed, Mario Vogel Ballet Ensemble Friedrichstadt-Palast Berlin: Coraline Arnaud, Christine Bach, Maria José Baeza Pamies, Eliton Da Silva De Barros, Corynne Barron, Azama Bashir, Azza Najiyba Bashir, Miranda Bodenhöfer, Viktoriya Chumakina, Jemima Rose Dean, Madlen Engelskirchen, Maria Esau, Allen Andrew Fabre Costa, Nikolay Golovanov, Tamás Hári, Lisa Jost, William Nascimento Lima, Roman Lukyanchenko, Arielle Martin, Djalil Makhamud, Laura Matheson, Dácil Mederos, Alysha Pacheco, Charlotte Peters, Siniša Petrović (drag queen), Iuri Prokopchuk, Pavel Pukha, Cathleen Reinke, Dan Revazov, Georgina Rowse, Sofia Schabus, Annick Schadeck, Miriam Schegerer, Liam Michael Scullion, Anita Tortorella, Renáta Turzíková, Filip Vereš, Emanuele Vignoli, Sophie Wensel, Hanna Woldt, Justyna Woloch, Zahari Zahariev, Elitsa Zafirova General Director: Berndt Schmidt Show Concept: Manfred Thierry Mugler and Roland Welke Music Director: Daniel Behrens Show Couture-Design: Manfred Thierry Mugler and Stefano Canulli Stage Design: Jürgen Schmidt-André Composition ‘Alien Kickline’: Anja Krabbe, Frank Kretschmer, Martin de Vries Ballett Director: Alexandra Georgieva Ballett Master and Choreographer ‘Alien Kickline’: Maik Damboldt Stage Crew: Peter Müller (Head), Dietmar Spolert Light Department: Olaf Eichler (Head), Birger Krause, Norbert Zimmermann Sound Engineer: Thomas Heidel Director Costume and Make-Up: Sylvia Zuhr Make-Up: Antje Potthast (Head), Jana Gänßle, Johannes Gundlach, Katja Palm, Antonio Caballero Prada, Sonja Rauer Dresser: Cordula Stummeyer (Head), Annette Bellmann, Karen Ellmer, Simone Fahrich, Manja Knothe, Cornelia Rach, Petra Wagner Coordination Friedrichstadt-Palast: Ghazal Weber

Pop Art – Conservative mother Father: Andrew Upton Children: Dash, Roman & Iggy Maid: Ea-Ja Kim Stridentism / Creationism – Tattooed punk Extras: Laurie Young, Jeff Wood, Jochen Arbeit, Viktor Jakovleski, Jeewi Lee, Florian Günzel, Guido Dorigo, Anastasia Coyto, Mila Coyto, Claudio Oliverio, Shaz, James Cameron aka Jimmy Trash, Martin Stahlke, Constantine “Dino” Karlis, Gerald Pasqualin, Paul Bonomo, Charles Michel Warzee, Claudio Oliveiro, Liliana Velasquez, Pauline Stolze, Philipp Danes, Shaharazad Teymour, Undarmaa Ganbold, Tobias Hottinger, Joe Friedrichsen, Paul Marotz, Martin Stahlke, Terri Laird Vorticism / Blue Rider / Abstract Expressionism – CEO at a private party Extras: Cornelia Ackers, Ivo Wessel, Reinhard Spieler, Stefan Becker, Degenhard Andrulat, Katja Blomberg, Tamara Pallasch, Christian Bratz, Clemens Pätzold, Daniel Schlesener, Emmanuel Bourdin, Iulian Morar, Joni Caparas, Klaus Berchner, Marina Vozhegova, Sigrid Rostock, Yasmin Hallensleben, Zohreh Mohseni-Pour, Fred

armoryonpark.org

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Surrealism / Spatialism – Puppeteer Puppets / Puppet Master: Suse Wächter

#PAAManifesto

Conceptual Art / Minimalism – Newsreader and reporter Extras: Jia Shen Guo, Andreas Jentzsch, Julian Theiner, Morag Ross, Massimo Gattabrusi, David Hilgers, Alexandra Hannemann, Julian Rebus, Fabian Götz ZDF: Production Manager: Sybille Heine Hauptstadtstudio: Christian Amende Studio Manager: Ulrich Bülow Production Engineer: Maik Kaiser Video Technician: Dino Maluck Light Technician: Dirk-Michael Heppner 2nd Light Technician: Torsten Schwarzer Grip: Alexander Schulz Set Manager: Silke Schramm Film – Teacher Extras: 3rd grade students 2014/15 of the Berlin Metropolitan School (in alphabetical order): Jasmin Alshourbagi, Matias Barrantes, Sophie Bauer-Savage, Aarya Bennett, Victor Blanc, Nica Boerema, David Buchler, Anatoly Chalov, Laura Charlotte Danne, Jonas Albertus De Beus, Anais Tallulah Devinast, Milla Drüner, Bruno Eitzinger, Filip Ekblom, Carl Martin Fischer, Yonathan Friedländer, Nicolas Full, Fenna Fulton, Anika Sofia Gallar, Aamor Hope Garvey, Wout Goossens, Philip Götz, Seraphine Julie Grimm, Lilli Gromann, Theresa Grosser, Noah Hamzawy, Tilmann Hänsel, Malta Aoi Haubrich, Mion Solange Joosten, Jonathan Kamp, Cassia Junia Koglin, Dora Kohnert, Dila Köksal, Valentin Kretschmer, Tonio Kurth, Chawakorn Laebe, Allyson Laura Lange, Ruben Mart, Philip Mehrlein, Archie Miller, Clemens Miller, Karla Mival, Lysandre Mueller, Lea Theres Saida Mund, Ella Nenninger, Lev Nicolson, Paula Sue Odenthal, Adam Ozery, Louie Pfeiffer, Katie Phillips, Lara Line Redfern, Anna-Lena Reiche, Roman Röhl, Luis Rosefeldt, Lina Rosenmund, Naomi Royer de Vericourt, Manas Rupakheti, Benjamin Saik, Selim Sanders, David Gruia Saragusty, Robert Sartor, Mimi Schönefeld, Lilian Lara Schulz, Merlin Steiner, Felix Suidman, Soraya Tomlinson, Carla Trippa, Jadon Vashikararaj, Tom Verweyen, Merlin Waßerfall, Loris Webb, Karl Gustav Welke, Mathis Leander Wernecke, Ardi Mahardika Widyatmoko, Emilian Dibelius, Jayson Prince Ye, Benjamin Zaleski, Jakob Zaleski, Lea Marie Zänker, Anna Zier

SHOOTING LOCATIONS Berlin Metropolitan School, FriedrichstadtPalast Berlin, former Olympic Village, Vattenfall – Klingenberg CHP plant, Studio P4 (Funkhaus Berlin), Pallasseum, BSR – Abfallbehandlungswerk Süd, Versuchsanstalt für Wasserbau und Schiffsbau, Stahnsdorf South-Western Cemetery, HelmholtzZentrum Berlin – BESSY II, former fertilizer factory Rüdersdorf, Villa Rembold, Teufelsberg, ZDF Hauptstadtstudio, Adler-Löwen-Kaserne, ‘Mäusebunker’ former animal research center Charité, Villa Palombini, Jakob-und-WilhelmGrimm-Zentrum / Humboldt-Universität zu Berlin, Department of Engineering Acoustics / Technische Universität Berlin, Remise Bergmannstraße, library of the Brandenburgische Technische Universität Cottbus-Senftenberg GRATEFUL THANKS TO Schiwago Film GmbH, ARRI Rental Berlin, ARRI Media, Stefan Düll, Gabriele Huber, Volker Frank-Palm, Daniel Saltzwedel, Studio Babelsberg, Michael Düwel, Eike Wolf, Eckhard Wolf, Wolf Bosse, Apple Inc., Dominic Barrett, Larissa Trueby, Mobilespace, Mastermoves Motion Control, Marcel Neumann, Heinz Peter Schwerfel, Tobias Werner, Axis Mundi, Boris Kohn, FTA Berlin, Big Image, Delikatessen, Filmtierschule Harsch, Talat, Tomassini Fingerfood, Vattenfall Berlin, Studio P4, Franz Rembold, Boris Szymczak, Ghazal Weber, Silke Friedrich, Sónia Pires, Shalmon Abraham, Viktor Jakovleski (Magic sparks), Sybille Heine, Magdalene Frewer-Sauvigny, Katharina Tollkühn, Nikolaus Palombini, Antonio Mesones, Peter Klare, Mario Hohmann, Paul Black, 8mm Bar Berlin, Agentur Filmgesichter, Johanna Ragwitz, Christin Geigemüller, Uli Nefzer, Sylvia Laskovsky, Audi Zentrum Berlin, Moritz Baumann, Woolrich/Fourmarketing, Frank Rauhut, Sebastian Harnisch, Olaf Ihlefeldt, Jennifer Bierbaum, Friedbert Vietz, Sigrid Witthöft, Siegfried Ganz, Barbara Eisenhuth, Fangs F/X Ltd, Soho House Berlin, Rocchetti & Rocchetti s.r.l., Block & Graphics, Wellenstein, Comme des Costumes, commeonveut, Kostümfundus Babelsberg, Theaterkunst Kostümausstattung, Franz Gossler Versicherungsvermittlung GmbH, Brilliant Voice, Torben Rausch, Agentur Stimmgerecht, Bernd-Uwe Richter, Iris Henninger, Ralph Remstedt, Landesmuseum für Vorgeschichte Halle (Saale) , Goethe-Institut Australien, Concept AV, Max Wigram, Donata and Wim Wenders, Tom Tykwer, Peter Rommel, Caroline Link, Ires Jung, Lydia Korndörfer, Laura Käding, Alfons Hug, Ben Lightowlers, Thierry Leviez, Alex Danchev, Edgar Reitz, Joachim Jäger, Yvonne Brandl, Piotr Komarnicki, Immanuel Rohner, Robert Gabriel, Annemieke Keurentjes, Tobias Veit, Thomas Ostermeier Thompson Arts Center at Park Avenue Armory

SPECIAL THANKS TO Cate Blanchett Andrew Upton, Iggy, Roman, Dash, June Blanchett, Jamela Duncan And to (in alphabetical order) Cornelia Ackers, Matthias Arndt, Ute Baron, Stefan Becker, Hans-Jörn Brandenburg, Russell Briggs, Monique and Max Burger, Tschangis Chahrokh, Lukas Crepaz, Bina Daigeler, Christoph Dehmel-Osterloh, Christoph Fisser, Massimo Gattabrusi, Florian Gellinger, Roland Gerhardt, Jeanny and Stephan Goetz, Bobby Good, Barbara Gross, Michael Herbell, David Hilgers, Marcos Kantis, Udo Kittelmann, Christoph Krauss, Martin Lehwald, Kirsten Niehuus, André Odier, Justin Paton, Janaina Pessoa, Cristian Pirjol, Erwin Prib, Suhanya Raffel, Sepp Reidinger, Bettina Reitz, Kristin Rieber, Morag Ross, Barbara Schmidt, Fabian Schmidt, Jan Schöningh, Reinhard Spieler, Tobias Staab, Markus Stemler, Katharina von Chlebowski, Suse Wächter, Monika Wank, Hanse Warns, Wassili Zygouris And to all the marvelous authors of those mind-blowing manifestos Particular thanks for the generous support of Manifesto to: Bayerischer Rundfunk Medienboard Berlin-Brandenburg Verein der Freunde der Nationalgalerie Freunde des Sprengel Museum Hannover e.V. Australian Centre for the Moving Image Melbourne Art Gallery of New South Wales Sydney Burger Collection Hongkong Ruhrtriennale At Park Avenue Armory Julian Rosefeldt would like to thank warmly: Rebecca Robertson, Pierre Audi, Michael Lonergan, Tom Trayer, Paul King, Paul Scarbrough, Jessica Wasilewski and Eidotech GmbH Berlin Written, directed, and produced by Julian Rosefeldt All rights reserved © Julian Rosefeldt 2016

ART AS CHANGE MANIFESTO EDUCATION PROGRAM “Today I think of the manifesto as a rite of passage, not only for young artists but also for young people in general.” – Julian Rosefeldt Drawing from the youthful fervor of the manifesto as a rite of passage, more than 1,000 New York City public middle and high school students have experienced Julian Rosefeldt’s Manifesto at Park Avenue Armory. Through in-school workshops, sessions at the Armory, and a Student Summit, young people examine how manifestos utilize written language to demand change. The associated arts education program is based on the idea that Manifesto is a contemporary call to action, through which students discover that their own manifestos may reflect a wide range of topics: that it is possible to use art as a lens to comment on and demand action around current events and matters of great concern to them. In preparatory in-school workshops, Armory teaching artists encourage students to explore the anatomy of a manifesto— strong language, rejection of a “norm,” and a call to action. Through guided discussion, students consider how it feels to strongly disagree with an aspect of a community that they identify with, why it is important to have the freedom to speak out on one’s opinions, and ways in which it is possible voice a stance on issues of importance. Once at the Armory, students experience Manifesto and construct a response to the work in the form of visually and textually rich individual manifestos as well as a collaborative, collective manifesto for their class or school. Students select and perform powerful statements from their manifestos and teaching artists capture audio recordings that will be crafted into a soundscape providing a method for students to literally use their voice to sound a call to action. All manifestos that are created during sessions at the Armory are included in a book of student manifestos. The book and accompanying soundscape form one exhibition at the Student Summit, which all New York City high school students are invited to attend. The Student Summit is planned and hosted by the Summit Advisory Board comprising three generations of Park Avenue Armory Youth Corps—a paid internship program for public school students—coming together to use art education to reach and inspire young artists across New York City. Having met with Rosefeldt on several occasions to garner his input on the Summit, the Board contemplated how students might

express their opinions and demand calls to action—like the writers of the manifestos in Rosefeldt’s work. Designed as an evening of revolution, in addition to the book exhibition, the Summit also includes: • the Open Mic Manifesto Room where students perform a manifesto (choosing between existing manifestos or declarations that they have written) by selecting costume pieces to build the character they envision as best able to communicate the message; • the Intergenerational Manifesto Film exhibit created by a partnership between a group of elders and a group of children who each wrote manifestos but then performed someone else’s piece—inspired by Cate Blanchett’s portrayals of Julian Rosefeldt’s manifesto text collages and how a specific character influences the way one “hears” and understands words; • performances by the Armory Youth Ensemble of their original site-specific music, movement, and spoken word piece around the idea of “getting on your soap box;” • the Fashion as Manifesto art making workshop, where participants design their own wearable manifestos in the form of a t-shirt based on the notion that fashion—the art of what we wear and how we present ourselves—is an expression of both personal and societal manifesto; • and a So What/Now What Room that provides strategies and access to organizations that help students get active in their neighborhoods, and at the city, state, and national level to have their voices be heard beyond the walls of the Armory and pave the way for their future. It is the hope that through participating in these arts education programs, students take the cue from Manifesto, and the writers of the manifestos within the work, to recognize the ability of art—and indeed, the artist—to comment on personal, social, and political issues and that they embrace their power as artists to do so. All arts education programs at Park Avenue Armory are offered at no cost to invited New York City public schools. To learn more about the Armory’s arts education programs, visit armoryonpark.org/education.

Park Avenue Armory’s arts education programs are supported by generous grants from The Pierre and Tana Matisse Foundation, The Pershing Square Foundation, the Zelnick/Belzberg Charitable Trust, the Hearst Foundations, The Reed Foundation, Mr. and Mrs. Mikel Halvorson, Lester and Enid Morse, the Laurie M. Tisch Illumination Fund, the WME Foundation, the Ida and William Rosenthal Foundation, the Milton and Sally Avery Arts Foundation, and the Michael Tuch Foundation. Additional support has been provided by members of the Armory’s Education Committee. The Armory’s arts education programs are also made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and supported in part by public funds from the New York City Department of Cultural Affairs in partnership with the city council. armoryonpark.org

@ParkAveArmory

#PAAManifesto

ABOUT THE ARMORY Part American palace, part industrial shed, Park Avenue Armory is dedicated to supporting unconventional works in the visual and performing arts that need non-traditional spaces for their full realization, enabling artists to create, students to explore, and audiences to consume epic and adventurous presentations that can not be mounted elsewhere in New York City. Since its first production in September 2007, the Armory has organized and commissioned immersive performances, installations, and cross-disciplinary collaborations by visionary artists, directors, and impresarios in its vast drill hall that defy traditional categorization and to push the boundaries of their practice. In its historic period rooms, the Armory presents small-scale performances and programs, including its acclaimed Recital Series in the intimate salon setting of the Board of Officers Room and the Artists Studio series in the newly restored Veterans Room. The Armory also offers robust arts education programs at no cost to underserved New York City public school students, engaging them with the institution’s artistic programming and the building’s history and architecture. Built between 1877 and 1881, Park Avenue Armory has been hailed as containing “the single most important collection of nineteenth century interiors to survive intact in one building” by the New York City Landmarks Preservation Commission. The 55,000-square-foot Wade Thompson Drill Hall, with an 80-foot-high barrel vaulted roof, is one of the largest unobstructed spaces in New York City. The Armory’s magnificent reception rooms were designed by leaders of the American Aesthetic Movement, among them Louis Comfort Tiffany, Stanford White, Candace Wheeler, and Herter Brothers. The building is currently undergoing a $210-million renovation designed by Herzog & de Meuron and Platt Byard Dovell White Architects as Executive Architects.

PARK AVENUE ARMORY STAFF Rebecca Robertson, President and Executive Producer Pierre Audi, Artistic Director Katrina Berselius, Special Assistant to the President Jenni Bowman, Producer David Burnhauser, Collection Manager Courtney Caldwell, Venue Events Manager Leandro Dasso, Porter Khemraj Dat, Accountant Jordana De La Cruz, Special Projects Coordinator Mayra DeLeon, Porter Marcia Ebaugh-Pallán, Manager of Special Events Alexander Frenkel, Controller Lissa Frenkel, Managing Director Melanie Forman, Chief Development Officer Caelan Fortes, Individual Giving Assistant Peter Gee, Chief Financial and Administrative Officer Pip Gengenbach, Education Coordinator Carlie Guevara, Administrative Assistant, President’s Office Jennie Herreid, Ticket Services Manager Reginald Hunter, Building Mechanic Cassidy Jones, Education Director Chelsea Emelie Kelly, Youth Corps Coordinator Nicole Kidston, Deputy Director of Development Paul King, Director of Production Allison Kline, Director of Foundation and Government Relations Nicholas Lazzaro, Production Operations Manager Jennifer Levine, Director of Special Events 12

Michael Lonergan, Producing Director Wayne Lowery, Security Director Jason Lujan, Operations Manager Walter Nin, Security Manager Maxine Petry, Manager of Individual Giving Charmaine Portis, Executive Assistant to the Chief Development Officer Morgan Powell, Membership Coordinator Kirsten Reoch, Director of Design and Construction Erik Rogers, Production Coordinator Matthew Rymkiewicz, Tessitura Database Manager William Say, Superintendent Jennifer Smith, Associate Director of Corporate Relations Tom Trayer, Director of Marketing Chris Van Alstyne, Technical Director Brandon Walker, Associate Technical Director Jessica Wasilewski, Producer Monica Weigel, Associate Director of Education Avery Willis Hoffman, Program Director Nick Yarbrough, Digital Marketing Manager Youth Corps Santiago Budier, Rachel Calabrese, Logan Delgado, Joselin Flores, Lizmarie Garcia, Isatu Jalloh, Sinaia Jones, Terrelle Jones, Destiny Lora, Leidy Dania Carrasco Paulino, Angela Reynoso, Rafael Rosario, Cory Sierra, Keshawn Wallace, Maegan Wright

Thompson Arts Center at Park Avenue Armory

NEXT AT THE ARMORY THE HAIRY APE

RECITAL SERIES

march 25–april 22 “Superb … a rare and exhilarating revival of a play that shows the ability of expressionism to pin down the encaged isolation of the eternally oppressed.” —The Guardian (UK) Nobel Prize-winning playwright Eugene O’Neill’s iconic piece of expressionist drama gets a thrilling new life in a production by visionary dirmector Richard Jones. Tony-nominated actor Bobby Cannavale stars as Yank, whose journey literally revolves around the audience like the conveyer belt of a larger machine. This fresh approach creates an inventive and contemporary rallying cry addressed as much to our own gilded age as to O’Neill’s that rattles the cages of capitalism.

FLEXN EVOLUTION may 18–21

Experience enchanting musical moments in the most personal of settings, including the recital debuts of opera greats as well as the next generation of brilliant singers, thoughtfully curated programs of both lieder and contemporary works, and electrifying performances by musical luminaries that take their intrepid artistry in thrilling new directions. Upcoming Recitals:

LINDEMANN YOUNG ARTIST CONCERT february 1–2 SARAH CONNOLLY, mezzo-soprano JOSEPH MIDDLETON, piano march 15–17 WU MAN AND THE SHANGHAI QUARTET june 20–21

“… [a] searing example of dance as protest” ” —The Boston Globe Characterized by snapping, pausing, bone-breaking, gliding, get-low, hat tricks, and real-time in-body animation, FLEXN is a form of street dance that has evolved from the Jamaican bruk-up found in dance halls and reggae clubs in Brooklyn. After dazzling audiences in 2015, this thrilling group of dance innovators returns to the Armory with a constantly evolving style and vocabulary that continually reflects the new virtuosity and new urgency demanded by the times.

ARTISTS STUDIO Curated by jazz pianist, composer, and MacArthur fellow Jason Moran, these performances explore the culture of sound that can be visibly seen in the newly reopened Veterans Room, while allowing these creative thinkers to actively explore bold new directions of global influence in contemporary music. Upcoming Performances:

DAWN OF MIDI february 18

HANSEL & GRETEL june 7–august 6

“[Herzog & de Meuron] are always dedicated to enlarging experience where others would flatten it, and heightening the specifics of a place when there are pressures to erase them. They are champions of nuance” —Architectural Review

RYUICHI SAKAMOTO april 25–26 LAWRENCE BROWNLEE, tenor MYRA HUANG AND JASON MORAN, piano august 9–11

“ …it is the essence of Ai’s activism: …work that unleashes the political power of art.” —The Guardian (UK) In a new commission that is both object and environment, Pritzker Prize-winning architects Jacques Herzog and Pierre de Meuron with artist/activist Ai Weiwei explore the meaning of public space in our surveillance-laden world, referencing the story of Hansel and Gretel in which the children lose their way and feel a sense of menace in a space they know and trust. The artists create a 21st century public place in which the environment is disconcerting, the entrance is unexpected, and every movement is tracked and surveyed by drones and communicated to an unknown public. armoryonpark.org

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PARK AVENUE ARMORY BOARD OF DIRECTORS Co-Chairman Elihu Rose, PhD. Co-Chairman Adam R. Flatto President and Executive Producer Rebecca Robertson

Marina Abramović Harrison M. Bains Wendy Belzberg Emma Bloomberg Carolyn Brody Cora Cahan Peter C. Charrington Hélène Comfort Paul Cronson Emme Deland Sanford B. Ehrenkranz David Fox Marjorie L. Hart Edward G. Klein, Major General NYNG (Ret.) Ken Kuchin Mary T. Kush

Pablo Legorreta Ralph Lemon Heidi McWilliams David S. Moross Gwendolyn Adams Norton Joel Press Genie H. Rice Amanda J.T. Riegel Janet C. Ross Joan Steinberg Emanuel Stern Mimi Klein Sternlicht Angela E. Thompson Deborah C. van Eck Founding Chairman, 2000-2009 Wade F.B. Thompson

SUPPORTERS Park Avenue Armory expresses its deep appreciation to the individuals and organizations listed here for their generous support for its annual and capital campaigns. $1,000,000 + Charina Endowment Fund Empire State Local Development Corporation Richard and Ronay Menschel New York City Council and Council Member Daniel R. Garodnick New York City Department of Cultural Affairs The Pershing Square Foundation Susan and Elihu Rose The Arthur Ross Foundation and J & AR Foundation Joan and Joel Smilow The Thompson Family Foundation Wade F.B. Thompson* The Zelnick/Belzberg Charitable Trust Anonymous $500,000 to $999,999 Citi Lisa and Sanford B. Ehrenkranz Almudena and Pablo Legorreta The Andrew W. Mellon Foundation Assemblymember Dan Quart and the New York State Assembly Adam R. Rose and Peter R. McQuillan Donna and Marvin Schwartz Liz and Emanuel Stern

$250,000 to $499,999 American Express Michael Field Olivia and Adam Flatto Ken Kuchin and Tyler Morgan The Pierre and Tana Matisse Foundation The Rockefeller Foundation Marshall Rose Family Foundation $100,000 to $249,999 The Achelis and Bodman Foundations R. Mark and Wendy Adams Altman Foundation Linda and Earle S. Altman Bloomberg Philanthropies Booth Ferris Foundation Hélène and Stuyvesant Comfort Emme and Jonathan Deland Marjorie and Gurnee Hart Kirkland & Ellis LLP Mary Kush Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc. Mr. and Mrs. Lester S. Morse, Jr. David P. Nolan Foundation Gwen and Peter Norton Daniel and Joanna S. Rose Caryn Schacht and David Fox Amy and Jeffrey Silverman Harold and Mimi Steinberg Charitable Trust Joan and Michael Steinberg Mimi Klein Sternlicht Mr. and Mrs. William C. Tomson Deborah van Eck Thompson Arts Center at Park Avenue Armory

$25,000 to $99,999 Gina Addeo AR Global Investments, LLC The Avenue Association Harrison and Leslie Bains Emily and Len Blavatnik Emma Bloomberg and Chris Frissora BMW of Manhattan Carolyn S. Brody Burberry The Cowles Charitable Trust Mary Cronson / Evelyn Sharp Foundation Caroline and Paul Cronson Drake / Anderson Stuart J. Ellman and Susan H.B. Ellman Andrew L. Farkas, Island Capital Group & C-III Capital Partners Mr. and Mrs. Martin Geller Elizabeth Morse Genius Foundation Howard Gilman Foundation Horace W. Goldsmith Foundation Golub Captial LLC Kiendl and John Gordon Agnes Gund Mr. and Mrs. Andrew Gundlach The Hearst Foundations Josefin and Paul Hilal Kaplen Brothers Fund Anna Maria & Stephen Kellen Foundation, Inc. and Marina Kellen French Wendy Keys Christina and Alan MacDonald Christine and Richard Mack Marc Haas Foundation Cindy and David Moross

National Endowment for the Arts National Philanthropic Trust New York State Council on the Arts Elizabeth and Frank Newman Stavros Niarchos Foundation Northern Bay Contractors, Inc. Joan and Joel I. Picket Slobodan Randjelović and Jon Stryker The Reed Foundation Rhodebeck Charitable Trust Genie and Donald Rice Amanda J.T. and Richard E. Riegel Rebecca Robertson and Byron Knief Janet C. Ross Jack and Susan Rudin The Fan Fox & Leslie R. Samuels Foundation Nicholas and Shelley Schorsch The Shubert Foundation Sydney and Stanley S. Shuman Skadden, Arps, Slate, Meagher & Flom LLP Sanford L. Smith Sarah Billinghurst Solomon and Howard Solomon Dr. and Mrs. Eugene E. Stark, Jr. Michael and Veronica Stubbs Thor Industries, Inc. Tishman Construction, an AECOM Company Barbara and Donald Tober VIA Art Fund Anonymous (2) $10,000 to $24,999 ADCO Electrical Corporation Ginette and Joshua A. Becker Sara Steinhardt Berman A. Cary Brown / The W.L. Lyons Brown, Jr. Charitable Foundation Noreen and Ken Buckfire Janna Bullock Mr. and Mrs. Chase Coleman Elizabeth Coleman Con Edison Crum & Forster William F. Draper Peggy and Millard Drexler Andra and John Ehrenkranz Mr. and Mrs. Michael Evans Florence Fearrington Ferrari Ella M. Foshay and Michael B. Rothfeld Amandine and Steve Freidheim Jeff and Kim Greenberg Mr. and Mrs. Mikel Halvorson Elizabeth and Dale Hemmerdinger Anita K. Hersh Marlene Hess and James D. Zirin Daniel Clay Houghton Max MF Power Jacobellis Jil Sander William and Elizabeth Kahane Erin and Alex Klatskin Suzie and Bruce Kovner Jill and Peter Kraus Leon Levy Foundation Richard H. Levy & Lorraine Gallard

Aaron Lieber and Bruce Horten Lili Lynton and Michael Ryan Andrea Markezin and Joel Press Renee and David McKee Cynthia Woods Mitchell Fund of the National Trust for Historic Pre.... Patty Newburger and Bradley Wechsler PBDW Architects LLP Katharine and William Rayner Charles H. Revson Foundation Mary Jane Robertson and James A. Clark Mr. and Mrs. Jeffrey Rosen Fiona and Eric Rudin May and Samuel Rudin Family Foundation, Inc. Mr. and Mrs. William Sandholm Stacy Schiff and Marc de la Bruyere Dr. and Mrs. Thomas P. Sculco Lea Simonds Sotheby’s Patricia Brown Specter Laurie M. Tisch Illumination Fund Tishman Speyer Properties, LP Robert Vila and Diana Barrett Mike Weil and Shirley Madhere-Weil William Morris Endeavor Entertainment Foundation Richard and Franny Heller Zorn Anonymous (2) $5,000 to $9,999 ABS Partners Real Estate, LLC Benigno Aguilar and Gerald Erickson Jamie Alter and Michael Lynton Jody and John Arnhold Milton and Sally Avery Arts Foundation Abigail Baratta Mr. and Mrs. Victor Barnett The David Berg Foundation, Inc. Amy Bermingham and Charles Wilson Debra and Leon Black Nicholas Brawer Catherine and Robert Brawer Daniel and Estrellita Brodsky Tom and Meredith Brokaw Veronica Bulgari and Stephan Haimo Amanda M. Burden Marian and Russell Burke Eileen Campbell and Struan Robertson CBRE Mr. and Mrs. David Cohen Betsy Cohn Sarah and Ronald Collins Mrs. Daniel Cowin Margaret Crotty and Rory Riggs Joshua Dachs / Fisher Dachs Associates Theatre Planning and Design Diana Davenport and John Bernstein Antoinette Delruelle and Joshua L. Steiner Jennie L. and Richard K. DeScherer Elizabeth Diller and Ricardo Scofidio Krystyna Doerfler The Max and Victoria Dreyfus Foundation Mary Ellen G. Dundon David and Frances Eberhart Foundation Cheryl and Blair Effron Anne and Joel Ehrenkranz

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EIDOS Inger McCabe Elliott Alicia Ernst and John Katzman The Felicia Fund Fisher Marantz Stone, Inc. Claudia Fleming & George Bitar Barbara and Peter Georgescu Debbi Gibbs Richard Gilder and Lois Chiles Sarah Gould and David Steinhardt Elizabeth and David Granville-Smith Mindy and Jon Gray Mr. Jeff Greene and Ms. Kim Lovejoy Jamee and Peter Gregory Gunther E. Greiner Marieline Grinda and Ahmad Deek Allen and Deborah Grubman Mr. and Mrs. George Grunebaum Molly Butler Hart and Michael D. Griffin Mr. and Mrs. Daniel Hurwitz Tony Ingrao and Randy Kemper Nancy Josephson Paul Kanavos and Dayssi Olarte de Kanavos Jennie Kassanoff and Dan Schulman Mr. and Mrs. Richard Katzman Mr. and Mrs. Fernand Lamesch The Ronald and Jo Carole Lauder Foundation Gail and Alan Levenstein Mr. and Mrs. Aaron Levine Kamie and Richard Lightburn Mr. and Mrs. Robert Martin Diane and Adam E. Max Véronique Mazard and Andrew Vogel Sergio and Malu Millerman Claire Milonas Adriana and Robert Mnuchin Ali Namvar Mr. and Mrs. Michael Newhouse Nancy and Morris W. Offit Kathleen O’Grady Peter and Beverly Orthwein Mindy Papp Susan Porter Anne and Skip Pratt Preserve New York, a grant program of Preservation League of New York Mr. and Mrs. Robert Pruzan David J. Remnick and Esther B. Fein Carolyn Risoli and Joseph Silvestri Jonathan F.P. and Diana Rose Liz Rosen and Michael Rozen Ida And William Rosenthal Foundation Chuck and Stacy Rosenzweig Deborah and Chuck Royce Jane Gregory Rubin and Reed Rubin H.O. Ruding and Renee Ruding-Hekking Mr. and Mrs. Matthew Ruesch Jeanne Ruesch Mr. and Mrs. Kevin Ryan Bonnie J. Sacerdote Oscar S. Schafer Sara Lee and Axel Schupf Mr. Leigh Seippel Alan and Sandy Siegel The Six Four Foundation Daisy M. Soros Mr. and Mrs. Jeffrey Stevenson

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Elizabeth Stribling and Guy Robinson The Jay and Kelly Sugarman Foundation Jane Toll Michael Tuch Foundation Mr. and Mrs. Ronald Ulrich Ambassador and Mrs. William J. vanden Heuvel Anastasia Vournas and J. William Uhrig David Wassong and Cynthia Clift Isak and Rose Weinman Foundation, Inc. Christy Welker Katherine Wenning and Michael Dennis Valda Witt and Jay Hatfield Cynthia Young and George Eberstadt Zubatkin Owner Representation, LLC Anonymous $2,500 to $4,999 AKF Group LLC Ark Restaurants Corp. Aurora Lampworks, Inc. Patrick Baldoni, Femenella & Associates, Inc. Tony Bechara Judy and Howard Berkowitz Mr. and Mrs. Robert Birnbaum Cathleen P. Black and Thomas E. Harvey Allison M. Blinken Amy and Kevin Brown Mr. and Mrs. Donald Calder Joyce Chelberg Alexandre and Lori Chemla Emy Cohenca Connelly & McLaughlin Central Park Conservancy Creative Artists Agency Ellie and Edgar Cullman The Cultivist Sasha Cutter and Aaron Hsu Constance and Gregory Dalvito Joan K. Davidson (The J.M. Kaplan Fund) Mary and Maxwell Davidson III Megan del Valle Jeanne Donovan Fisher Mr. and Mrs. Christopher Duda Mr. and Mrs. Robert Easton Karen Eckhoff Alice and David Elgart Loren Eng and Dinakar Singh Dr. Nancy Eppler-Wolff and Mr. John Wolff Mr. and Mrs. Jared Feldman Laura Jane Finn Megan Flanigan Foreground Conservation & Decorative Arts Melanie and Robert Forman Susan Freedman and Richard J. Jacobs Bart Friedman and Wendy A. Stein Teri Friedman Mr. and Mrs. Scott Gerber Mr. and Mrs. Trevor Gibbons Robert and Joyce Giuffra Sylvia Golden Marjorie and Ellery Gordon Noah and Maria Gottdiener Archie Gottesman and Gary S. DeBode Great Performances Mr. and Mrs. Jeff Greene 16

The William and Mary Greve Foundation Anne Grissinger Claire and Christian Gudefin John Hargraves Jane Hartley and Ralph Schlosstein Roger and Susan Hertog Augusta Hoffman and Jonathan Swygert Margaret Hunt istar Financial Inc. Caron and Geoffrey Johnson Meredith J. Kane Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Mr. and Mrs. Rene Kern Nancy Kestenbaum and David Klafter Diana King / The Charles & Lucille King Family Foundation Knickerbocker Greys Phyllis L. Kossoff Bonnie Englebardt Lautenberg Chad A. Leat Mr. and Mrs. Thomas Lehrman Sahra T. Lese Levien & Company, Inc. Mr. and Mrs. Chris Liddell Maria Lilien Heather Lubov Luhring Augustine Gallery Lynne and Burt Manning Judith and Michael Margulies Angela Mariani Mr. and Mrs. Richard E. Mayberry, Jr. Joyce F. Menschel Mr. and Mrs. William Michaelcheck Marcia and Richard Mishaan Achim and Colette Moeller Frank Moore Mr. and Mrs. Robert Morse Barbara and Howard Morse Mr. and Mrs. Saleem Muqaddam James C. Marlas and Marie Nugent-Head Marlas Francesca and Dick Nye Ellen Oelsner David Orentreich, MD / Orentreich Family Foundation Mario Palumbo Madison J Papp Elizabeth and Jeffrey Peek Christos Petranis George Petrides Joseph Piacentile Marnie Pillsbury Eileen and Tom Pulling Timothy and Coco Quinlan Jeff Rabin, TEFAF NY and Michael Plummer, TEFAF NY Frank and Kimba Richardson Heidi Rieger Clifford Ross Susan and Jon Rotenstreich Valerie Rubsamen and Cedomir Crnkovic Nathan E. Saint-Amand Mr. and Mrs. Matthew Satnick Mr. and Mrs. Andrew Saul Mr. and Mrs. Charles Sawyers Mr. Paul Scarbrough / Akustiks, LLC. Caroline Schmidt-Barnett Thompson Arts Center at Park Avenue Armory

Mr. Barry Schwartz / M&F Worldwide Corp. Lise Scott and D. Ronald Daniel Uma Seshamani and Jason van Itallie Kimia Setoodeh Thomas and Patricia Shiah Stephanie and Fred Shuman Denise Simon and Paulo Vieiradacunha Laura Skoler Stephanie and Dick Solar Sara Solomon Mr. and Mrs. David Sonenberg Sonnier & Castle Melissa Schiff Soros Mr. and Mrs. Stephen Spahn Douglas C. Steiner Diane and Sam Stewart Angeline Straka Mr. and Mrs. Tom Strauss Ambassador and Mrs. Liangang Sun Bill and Ellen Taubman Mary Ann Tighe Lindsey Turner Mr. and Mrs. Jan van Eck Herbert P. Van Ingen Mr. and Mrs. Alexander von Perfall Susan and Kevin Walsh Mati Weiderpass David Reed Weinreb Richard and Diana Whelan Kate R. Whitney and Franklin A. Thomas Shannon Wu Amy Yenkin and Robert Usdan Judy Francis Zankel Anonymous (2) $1,000 to $2,499 Lindsey Adelman Mr. and Mrs. Charles Anderson Jennifer Argenti Steve Bakunas Norton Belknap Kristine Bell Dale and Max Berger Mark and Randi Berman Katherine Birch Hana Bitton Dr. Suzy and Mr. Lincoln Boehm Mr. and Mrs. Sheldon Bonovitz Barbara Brandt Mr. and Mrs. Louis Brause Mr. and Mrs. Alexander Brodsky Mr. and Mrs. Jeff Campbell Pilar Castro Kiltz Chanda Chapin Anna Chapman Shirin and Kasper Christoffersen Mr. and Mrs. Robert Cochran Alexander Cooper Jessica and David Cosloy Mr. and Mrs. Andrew Crisses Boykin Curry and Celerie Kemble Mr. and Mrs. Charles Daniels James Danner Virginia Louise Davies Virginia Davies and Willard Taylor Jiggs Davis

Suzanne Dawson Mr. and Mrs. Maurice Deane Richard and Barbara Debs Diana Diamond and John H. Alschuler Hester Diamond Jacqueline Didier and Noah Schienfeld Mr. and Mrs. Michael Donner Jane Ehrenkranz and Robert Draizen Amy Grovas Elliott Mr. and Mrs. Alec Ellison Gretchen Englander Mr. and Mrs. Thomas N. Farmakis Frederic Fekkai and Shirin von Wulffen Fig & Olive Restaurant Amy Fine Collins and Bradley Collins EdmĂŠe and Nicholas Firth Ann Fitzpatrick Brown Paul and Jody Fleming Emily T Frick Mr. and Mrs. David Getz Kathleen and David Glaymon Francine Du Plessix Gray Jessica Guff Robert H. Haines Stan Harrison Stephanie Hessler Maria E Hidrobo Kaufman and Gabriel Kaufman William T. Hillman Dr. and Mrs. Richard Hoffman Susanna Hong Patrick Janelle Jennifer Joel Mr. and Mrs. David Johnson Mr. and Mrs. Kenneth Julian The Kandell Fund / Donald J. Gordon Jeanne Kanders Drs. Sylvia and Byram Karasu Adrienne Katz Karl and Elizabeth Katz Lauren Kenny Beth Kojima J. Allen Kosowsky, CPA & Lenore M. Kosowsky Mr. and Mrs. Kenneth Krueger Polly and Frank Lagemann Nanette L. Laitman Barbara Landau Judith Langer Mark and Taryn Leavitt Phyllis Levin Lieta and Helene The Honorable and Mrs. Earle Mack Liz MacNeill Mr. and Mrs. Marc Malek Nancy A. Marks Match 65 Brasserie Mr. and Mrs. Patrick McClymont Constance and H. Roemer McPhee Melissa Meeschaert Mr. and Mrs. Anthony Meyer Mr. and Mrs. John Miller Abby and Howard Milstein Sandra Earl Mintz Whitney and Andrew Mogavero Liz and Chips Moore Mr. and Mrs. Pierre Mordacq Sue Morris

Nina Morton Mr. and Mrs. James Murdoch Leslie and Curt Myers The New York Community Trust Nicholson & Galloway, Inc. Mr. and Mrs. Brent Nicklas Peter and Susan Nitze Mr. and Mrs. Marvin Numeroff The Par Group Mr. and Ms. Joseph Patton Suzanne Peck and Brian P Friedman Michelle Perlin Mr. and Mrs. Brian Pfeifler Sheila M. and Nicholas Platt Mr. and Mrs. Lyon Polk Mr. and Ms. Joshua Prentice Prime Parking Systems Anna Rabinowitz Mr. and Mrs. Richard Reiss Diana and Charles Revson Michael D. Rhea Rodgers & Hammerstein Foundation Isabel Rose and Jeffrey Fagen Marjorie P. Rosenthal Jane Royal and John Lantis Elizabeth Sarnoff and Andrew S. Cohen Mr. and Mrs. David Schiff Pat Schoenfeld Francesca Schwartz Mr. and Mrs. Bradley Settelman Nadine Shaoul and Mark Schonberger Claude Shaw and Lara Meiland-Shaw Gil Shiva Phyllis Smith Jeremy Snyder and Maggie Nemser Martha S. Sproule Squadron A Foundation Mr. and Mrs. Benjamin Steiner Leila Maw Straus Dorothy Strelsin Foundation / Enid Nemy The Studio In A School Association Stephen Trevor and Stephanie Hunt Amanda and John Waldron Claude Wasserstein Lauren and Andrew Weisenfeld Christina Westley Mr. and Mrs. Robert Wheeler Reva Wurtzburger Mr. and Mrs. Michael Young Michel Zaleski Mr. and Mrs. Adam Zurofsky Anonymous (4) List as of November 21, 2016 * Deceased

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ALL OF MAN IS FALSE