We provide vital support to cultural institutions and arts organizations throughout the world via our extensive program of sponsorships and grants.
Founded in 1891, The Chicago Symphony Orchestra (CSO) is widely regarded as one of the world's greatest orchestras. Bank of America has partnered with the CSO for more than a decade, becoming the Global Sponsor in the historic 2010/11 season, when Maestro Riccardo Muti began his tenure as music director. As Global Sponsor, we have embarked on the most significant sponsorship in CSO history, providing unprecedented support for the orchestra’s concerts and events at home and abroad. The CSO’s dynamic season is complemented by performances by the world’s most esteemed artists from all cultures and in all genres.
Alvin Ailey American Dance Theater has been celebrating the African-American cultural experience and the American modern dance tradition for more than 50 years. Recognized by Congress as a vital American “Cultural Ambassador to the World,” the company has performed for more than 23 million people in 48 states and in 71 countries on six continents.
Bank of America is pleased to be the National Sponsor of Power and Pathos: Bronze Sculpture of the Hellenistic World. The exhibition is a collaboration with the Palazzo Strozzi, the Museo Archeologico Nazionale, and the Soprintendenza per i Beni Archeologici della Toscana, Florence, along with the J. Paul Getty Museum in Los Angeles and National Gallery of Art in Washington D.C.
The collection of large-scale bronzes is on view at the Getty from July 28 to November 1, 2015. The exhibition was previously at the Palazzo Strozzi, Florence, from March 14 to June 21, 2015. After the Getty, the exhibition will travel to the National Gallery of Art, Washington, D.C., from December 13, 2015 through March 20, 2016.
Power and Pathos is the first major international exhibition to bring together more than 50 ancient bronzes from the Mediterranean region and beyond, ranging from the 4th century B.C. to the 1st century A.D. During the three centuries between the reigns of Alexander the Great and Emperor Augustus, artists around the Mediterranean created innovative, realistic sculptures of physical power and emotional intensity. Bronze—with its reflective surface, malleable strength, and ability to hold the finest details—was used to fashion dynamic compositions, graphic expressions of age and character, and impressive interpretations of the human figure. This major international loan exhibition unites large-scale bronzes of the Hellenistic age that are usually exhibited in isolation.
The exhibition is organized into six sections: Images of Rulers, Bodies Ideal and Extreme, Images of the Gods, The Art of Replication, Likeness and Expression, and Retrospective Styles.
Large-scale bronze sculptures are among the rarest survivors of antiquity; they were often melted down and recycled. Many bronzes known today still exist because they were once lost at sea, only to be discovered centuries later.
When viewed in proximity to one another, the variety of styles and techniques employed by ancient artists is emphasized to greater effect, as are the purposes and histories of the works. Exhibited together, they tell a rich story of artistic accomplishment as well as the political and cultural interests of the people who commissioned, created and beheld them more than two thousand years ago.
Bronze, an alloy of copper, tin, lead and other trace elements cast in molds, was a medium well suited to reproduction, and the exhibition provides an unprecedented opportunity to see objects of the same type, and even from the same workshop, together for the first time. For example, the two herms (a statue consisting of a squared stone pillar with a carved head) of Dionysos– the Mahdia Herm from the Bardo National Museum, Tunisia, and the Getty Herm, were actually made in the same workshop, and have not been shown together since antiquity.
Although rarely surviving today, multiple versions of the same work were the norm in the ancient world. A good example is the figure of an athlete holding a stirgil, a curved blade used to clean oil and dirt off the skin. Power and Pathos brings together three bronze casts – two full statues and a head – that are late Hellenistic or early Roman imperial versions of a statue created in the 300s BC by a leading sculptor of the time. This seems to have been one of the most popular works of the era, and copies were made well into the Roman Imperial period.
The J. Paul Getty Museum collects Greek and Roman antiquities, European paintings, drawings, manuscripts, sculpture and decorative arts to 1900, as well as photographs from around the world to the present day. The Museum's mission is to display and interpret its collections, and present important loan exhibitions and publications for the enjoyment and education of visitors locally and internationally. This is supported by an active program of research, conservation, and public programs that seek to deepen visitors’ knowledge of and connection to works of art.
Bank of America is pleased to be the national sponsor of The Habsburgs: Rarely Seen Masterpieces from Europe’s Greatest Dynasty, on view at the Museum of Fine Arts, Houston from June 14 to September 13, 2015.
The Habsburgs offers a rare opportunity to see the exquisite masterpieces and opulent personal belongings of an influential royal family whose reign spanned nearly 600 years, and shaped the world as we know it today. The Habsburgs were one of the principal dynasties of Europe from the fifteenth to the twentieth century. The exhibition showcases important works of art and rare objects from the collection of the Habsburg Dynasty—the emperors of the Holy Roman Empire and other powerful rulers who commissioned extraordinary artworks now in the collection of the Kunsthistorisches Museum in Vienna. For American audiences, this is a once-in-a-lifetime chance to peek inside the chambers of one of the most important imperial art collections in the world. The exhibition, largely composed of works that have never traveled outside of Austria, was organized by the Minneapolis Institute of Arts; the Museum of Fine Arts, Houston; the High Museum of Art, Atlanta; and the Kunsthistorisches Museum, Vienna. It was on view at the Minneapolis Institute of Arts from February 15 to May 10, 2015 and will travel from MFAH to the High Museum of Art, Atlanta.
The Habsburgs explores the dramatic rise and fall of the royal family’s global empire, from their political ascendance in the late Middle Ages to the height of their power in the sixteenth and seventeenth centuries, the expansion of the dynasty in the eighteenth and nineteenth centuries to its decline in 1918 at the end of World War I.
Some families have fought, others have intrigued their way to world power; the Habsburgs married their way up. They began with Austria and then married the Netherlands, Burgundy, the duchy of Milan, Sicily and finally Spain, including all its territories in the Americas.
The 93 artworks and artifacts that tell the story include arms and armor, sculpture, Greek and Roman antiquities, court costumes, carriages, decorative art objects, and paintings by such masters as Correggio, Giorgione, Rubens, Tintoretto, Titian, and Velázquez. Key masterpieces that have never before traveled to the United States include The Crowning with Thorns (c. 1602/1604) by Caravaggio; A portrait of Jane Seymour (1536), Queen of England and third wife to Henry VIII, by Hans Holbein the Younger; and Jupiter and Io (c. 1530/32) by Correggio.
The Habsburgs chronicles the story in three chapters, each featuring a three-dimensional “tableau”—a display of objects from the Habsburgs’ opulent court ceremonies—as context for the other works on view. By bringing together the Habsburgs’ paintings, decorative arts, costumes, and armor, visitors have a rich, tangible, and fascinating sense of the lives and legacies of these important European rulers. The exhibition shows the extraordinarily wide range of the Habsburgs’ collections, including works of Roman antiquity, medieval armory, early modern painting and craftwork, as well as magnificent carriages and clothing.
The first section features objects commissioned or collected by the Habsburgs from the thirteenth through the sixteenth centuries. In this late medieval/early Renaissance period, Habsburg rulers staged elaborate commemorative celebrations to demonstrate power and to establish their legitimacy to rule, a tradition that flourished during the reigns of Maximilian I and his heirs. Works from this era—including sabers and armor, tapestries, Roman cameos, and large-scale paintings—illustrate the significance of war and patronage in expanding Habsburg influence and prestige.
The second and largest section of the exhibition highlights the apex of Habsburg rule, the Baroque Age of the seventeenth and eighteenth centuries. The dynasty used religion, works of art, and court festivities to propagate its self-image and claim to rule during this politically tumultuous time. Paintings by Europe’s leading artists demonstrate the wealth and taste of the Habsburg rulers, while crucifixes wrought in precious metals and gems, as well as sumptuous ecclesiastical vestments, reflect the emperor’s role as defender of the Catholic faith.
The exhibition concludes with works from the early nineteenth century, when the fall of the Holy Roman Empire gave rise to the hereditary Austrian Empire—a transition from the ancien régime to a modern state in which merit determined distinction and advancement. Franz Joseph, who would reign longer than any previous Habsburg, saw the growth of nationalism and ultimately ruled over the dual monarchy of Austria-Hungary. As heir to the Habsburg legacy—and in the spirit of public education and enrichment—he founded the Kunsthistorisches Museum in 1891. Reflecting the modernization of the Habsburg administration, the exhibition ends with a spectacular display of official court uniforms and dresses.
Major funding for The Met: HD Live in Schools is made possible by Bank of America, with program support provided through a partnership with the New York City Department of Education. This nationwide initiative that provides students, teachers, and administrators with educational resources tied to select live transmissions of Metropolitan Opera performances, will connect with more students and teachers in its seventh season than ever before.
Each opera was chosen based on a combination of factors, including the opera’s applicability to the general curriculum, scheduling with school calendars and entertainment value for young audiences.
Since its inception in 1965, the Los Angeles County Museum of Art (LACMA) has been devoted to collecting works that span both history and geography, in addition to representing the city’s uniquely diverse population.
Bank of America is pleased to sponsor 50 for 50: Gifts on the Occasion of LACMA’s 50th Anniversary. The works featured in 50 for 50 include a collection of masterpieces from the nineteenth and twentieth centuries by Edgar Degas, Henri de Toulouse-Lautrec, Edouard Vuillard, Claude Monet, Jean-Auguste-Dominique Ingres, Andy Warhol, Roy Lichtenstein, Damien Hirst, and Frank Stella as well as art from Africa and works of decorative and applied art.
Most recently, LACMA revitalized the western half of the campus with a collection of buildings designed by Renzo Piano Building Workshop. These include the Broad Contemporary Art Museum, and a three-story 60,000-square-foot space for the exhibition of postwar art that opened in 2008. In the fall of 2010, the Lynda and Stewart Resnick Exhibition Pavilion opened to the public, providing the largest purpose-built, naturally lit, open-plan museum space in the world, with a rotating selection of major exhibitions, including 50 for 50: Gifts on the Occasion of LACMA’s 50th Anniversary.
Bank of America is the proud Season Sponsor of Carnegie Hall. Carnegie Hall features the world’s finest orchestras, chamber ensembles and recitalists, as well as pop, world and jazz artists, along with new music and special commissions.
Carnegie Hall’s mission is to present extraordinary music and musicians on the three stages of this legendary hall, to bring the transformative power of music to the widest possible audience, to provide visionary education programs, and to foster the future of music through the cultivation of new works, artists, and audiences.
Before Bach celebrates the music of the era before the birth of Johann Sebastian Bach in 1685. From Renaissance madrigals to early Baroque opera, Carnegie Hall brings together an assemblage of artists who make early music come alive for a contemporary audience.
Also this season, Meredith Monk holds the 2014–2015 Richard and Barbara Debs Composer’s Chair. Celebrating fifty years since her professional debut in 1964, Monk’s performances with her Vocal Ensemble and special guests feature her influential piano, chamber, orchestral and vocal works.
From the Carnegie Hall Perspectives series, mezzo-soprano Joyce DiDonato collaborates with a range of musical artists from The English Concert and Brentano String Quartet to The Philadelphia Orchestra to perform music of the bel canto era. Another Perspectives series features Anne-Sophie Mutter, a violinist who is dedicated to preserving and creating classical music for the future. Mutter is adding new works for violin to the classical repertoire while also cultivating and promoting new musicians through her foundation.
In homage to popular classics from a more recent era, Music Director and Conductor Steven Reineke celebrates Frank Sinatra. Let’s Be Frank brings to the stage The New York Pops and an all-star cast of guest performers including Tony DeSare, Storm Large, Frankie Moreno and Ryan Silverman.
Bank of America has provided support for the Whitney Museum of American Art since 2001. In addition to ongoing support for the museum’s permanent collection and sponsorship of selected exhibitions, we have also provided funding for Artreach, the Whitney’s signature outreach and education initiative, since 2005.
Designed by Pritzker Prize-winning architect Renzo Piano and conceived as a laboratory for artists, the Whitney’s new 220,000-square-foot home opens to the public on May 1, 2015. Located at 99 Gansevoort Street, between the High Line and the Hudson River in Manhattan’s historic Meatpacking District, the new building will almost double the Whitney’s exhibition and programming space, offering the most expansive display of its permanent collection of 20th-and 21st-century modern and contemporary American art, as well as an array of temporary exhibitions, including the museum’s signature Whitney Biennial.
In 1931, the Whitney was founded to develop American artists in every aspect of their work. Today, the Museum annually hosts over a dozen exhibitions, publishes numerous award-winning catalogues, and is on the cutting edge of conservation research. As the preeminent institution devoted to the art of the United States, the Whitney Museum of American Art presents the full range of twentieth-century and contemporary American art, with a special focus on works by living artists. The Whitney is dedicated to collecting, preserving, interpreting, and exhibiting American art, and its collection is considered to be the finest holding of twentieth-century American art in the world. The Museum’s signature exhibition, the Biennial, is the country’s leading survey of the most recent trends in American art.
The new museum building includes an education center with state-of-the-art classrooms, a multi-use black box theater, a 170-seat theater with picturesque views of the Hudson River, and a Works on Paper Study Center, all firsts of their kind for the Whitney.
The Whitney has long faced the issue of how to make its nearly 20,000 masterworks accessible to all—in a city that is recognized as a leader in art and culture. One of the innovative ways the museum addresses this challenge is through Artreach. For more than 30 years, the diverse programs that comprise Artreach have made the institution’s art and artists accessible to diverse audiences. Artreach provides free programming to New York City public school students, teens, visitors with disabilities and seniors. Bank of America will support a broadened Artreach effort, continuing our enduring partnership with the Whitney.
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Eva Klasson was an early student of Christer Strömholm, the first Scandinavian post-war photographer to gain international renown. His work has inspired several generations of Swedish photographers. Forty-three photographs by Klasson from the series Le troisième angle (1976), Ombilic (1977) and Parasites (1978) are being conserved with the support of the Art Conservation Project at the Moderna Museet, Stockholm’s preeminent museum for twentieth- and twenty-first-century art. Twenty-six of the conserved, newly framed photographs by Eva Klasson are on view in the exhibition A Way of Life: Swedish Photography from Christer Strömholm until Today, at the Moderna Museet through February 2015, sponsored by Bank of America Merrill Lynch.
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