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Consider the power of art with For Freedoms

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The Jule Collins Smith Museum of Fine Art at Auburn University is proud to be one of many distinguished arts organizations throughout the country participating in the momentous For Freedoms 50 State Initiative. Founded by artists Hank Willis Thomas and Eric Gottesman, For Freedoms was inspired by Norman Rockwell’s 1943 paintings of the four universal freedoms articulated by Franklin Delano Roosevelt in 1941—freedom of speech, freedom of worship, freedom from want, and freedom from fear.

The museum is actively participating in For Freedoms through the display of four works of art from its permanent collection. The works will be identified with special gallery signage and the For Freedoms logo, prompting visitors to consider the power of art in the context of a democracy. In addition to the artworks on display, two programs in the Community Films and Conversations series will be branded as For Freedoms initiatives and will include voter registration opportunities hosted by the League of Women Voters of East Alabama.

Logo For Freedoms 50 State Initiative
Leopoldo Méndez The Revolutionary, 1946 Linocut Jule Collins Smith Museum of Fine Art, Auburn University; Robert B. Ekelund Jr. and Mark Thornton Collection

Freedom of Speech

The title of this print is “The Revolutionary.”

  • What do you assume about the action in this scene?
  • Where is the viewer placed in relation to the young man?
  • How is holding his body? Think about his shoulders, chest, and chin
  • Describe the expression on his face.

Leopold Méndez, The Revolutionary, 1946, Linocut, Jule Collins Smith Museum of Fine Art, Auburn University, The Robert B. Ekelund and Mark Thornton Collection.

Freedom from Fear Christina Cordova (American, b. 1976) Mi Familia, 2010 ceramic and metal wire Jule Collins Smith Museum of Fine Art at Auburn University Museum purchase with funds from the 1072 Society

Freedom from Fear

Our first feelings of security come from our relationships with our families.

  • Think about how the figures are arranged?
  • What besides the title suggests that this group is a family?
  • How do the people feel? How do you know?
  • What might the metal birds represent?

Christina Cordova, Mi Familia, 2010, ceramic and metal wire, Jule Collins Smith Museum of Fine Art, Auburn University, Museum purchase with funds from the 1072 Society.

Seated Figure of Gautama Buddha China, Ming Dynasty, Yongle era, 1403 – 1425 Gilt bronze Jule Collins Smith Museum of Fine Art at Auburn University. The Joan Cousins Hartman Collection of Tibetan Bronzes.

Freedom of Worship

Inscribed on the top of the lotus platform is “Da Ming Yunglo nien shi,” or “Done (or donated) in the Yongle era of the Great Ming Dynasty).” This sculpture was sent from the Ming court as an offering to a ranking member of the Buddhist religious community in Tibet. The reason this sculpture and other Tibetan religious artifacts came into personal and public collections in the mid-twentieth century is that the Chinese People’s republic annexed Tibet in 1950 and began a systematic suppression of Tibetan culture and Buddhist practice. Temples and monasteries were destroyed, and many deconsecrated religious artifacts came onto the art market. This object is an essential example of the importance of JCSM’s mission to preserve, enhance, research, and interpret works of art in our collection. The Buddha, situated on a lotus platform, reaches down with his right hand to touch the ground. This gesture is recognized in Tibetan Buddhist iconography as an invocation for the earth deity to bear witness to his awakening.

  • What parts of the sculpture convey spirituality and enlightenment?
  • Think about the material, texture, and composition of the object, the pose of the figure, and the facial features of the Buddha.
Installation of Ben Shahn's Hunger from Art Interrupted exhibition, 2012

Freedom from Want

  • How did the artist convey the child’s need?
  • Think about the implied position of the viewer, the prominence of the boy’s hand, the treatment of his face and neck, and the use of color.

Ben Shahn, Hunger, 1946, gouache on composition board, Jule Collins Smith Museum of Fine Art, Auburn University, Advancing American Art Collection.

Alabama institutions also participating in For Freedoms include Alabama Contemporary Arts Center (Mobile), Birmingham Public Library, Birmingham Museum of Art, Coleman Center for the Art (York), Institute for Human Rights (University of Alabama Birmingham), Mobile Museum of Art, Montgomery Museum of Fine Arts, Paul r. Jones Museum of Art at University of Alabama Tuscaloosa, and Wiregrass Museum of Art (Dothan). Visit FORFREEDOMS.ORG for full details.

The Lost Bird Project: Passenger Pigeon

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For more than a decade, sculptor Todd McGrain has immortalized five extinct birds in stylized bronze sculpture in a series called The Lost Project. Each sculpture stands over six feet tall and weighs up to 700 pounds with surfaces as smooth as polished stone. After each project is completed, McGrain travels across the country to bring his sculptured birds back home, and places them in their former natural habitat.  Since 2000, McGrain has met with local communities to place permanent memorials where each bird inhabited or was last seen.

Audience have enjoyed the series as a part of the Susan Phillips Gardens since 2015. JCSM acquired the Carolina Parakeet as part of the permanent collection with funds from the Miller Audubon Endowment. As JCSM raises funds to keep the remaining four bronze sculptures as a part of a permanent sculpture program, learn more about the inspiration for the artist’s interpretation of creatures lost to the ages.

The Passenger Pigeon

More than 100 years ago, the Passenger Pigeon encompassed 40 percent of land birds in the country. They were constant travelers and called the vast of North American forests home by building wide nests and nurturing their offspring. Once America’s urban population increased in the 19th century, their meat became vital as hunters searched for their abundant nesting sites, resulting in complete extinction merely 50 years later.

Photo by Grahm S. Jones.Columbus Zoo and Aquarium, Ohio After a photo shoot at the Columbus Zoo in Ohio, a clouded leopard cub climbs on Sartore’s head. The leopards, which live in Asian tropical forests, are illegally hunted for their spotted pelts.

Expedition Auburn: An Evening with National Geographic Photographer Joel Sartore

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About Joel Sartore

Joel Sartore is a photographer, speaker, author, teacher, conservationist, National Geographic fellow and regular contributor to National Geographic magazine. His hallmarks are a sense of humor and a midwestern work ethic.

Sartore started the Photo Ark some 11 years ago in his hometown of Lincoln, Nebraska. Since then he’s visited 40 countries in his quest to create this photo archive of global biodiversity. Sartore has produced several books including RARE: Portraits of America’s Endangered Species, Photographing Your Family, and two new National Geographic Photo Ark books: “The Photo Ark” and “Animal Ark.”

National Geographic Photo Ark fans are also invited to join the conversation on social media with #SaveTogether and learn more about how to get involved with the project at NatGeoPhotoArk.org.

In addition to the work he has done for “National Geographic,” Sartore has contributed to Audubon magazine, “Life,” “The New York Times,” “Sports Illustrated” and numerous book projects. Sartore and his work have been the subjects of several national broadcasts, including “National Geographic’s Explorer,” “NBC Nightly News,” NPR’s “Weekend Edition,” “Fresh Air with Terry Gross” and the PBS documentary series, “Rare: Portraits of the Photo Ark.” He is also a regular contributor on the “CBS Sunday Morning Show.”

Sartore graduated from the University of Nebraska with a degree in journalism. He currently lives in Nebraska with his wife and children.

Explore 19th-century naturalism through a 21st-century lens with your guide Joel Sartore, as JCSM celebrates the exhibition and publication, “Audubon’s Last Wilderness Journey: The Viviparous Quadrupeds of North America” with this special guest.

Drawing inspiration from John James Audubon, this acclaimed National Geographic Photographer and Fellow is on a mission with the Photo Ark: to capture images of the world’s species before they disappear. Make tracks to get your tickets today. Black-tie optional (Faux animal prints welcome).

Seating is extremely limited. Tickets must be purchased prior to the event.

For assistance with other forms of payment, contact Robbin Birmingham at 334-844-3085 or Birmirc@auburn.edu.

Pictured Right: © Photo by Joel Sartore/National Geographic Photo Ark. Photo by Grahm S. Jones, Columbus Zoo and Aquarium, Ohio After a photo shoot at the Columbus Zoo in Ohio, a clouded leopard cub climbs on Sartore’s head. The leopards, which live in Asian tropical forests, are illegally hunted for their spotted pelts.

Photo by Grahm S. Jones.Columbus Zoo and Aquarium, Ohio After a photo shoot at the Columbus Zoo in Ohio, a clouded leopard cub climbs on Sartore’s head. The leopards, which live in Asian tropical forests, are illegally hunted for their spotted pelts.
© Photo by Joel Sartore/National Geographic Photo Ark. A federally endangered Florida panther,

© Photo by Joel Sartore/National Geographic Photo Ark. A federally endangered Florida panther, Puma concolor coryi, at Tampa’s Lowry Park Zoo. For more go to NatGeoPhotoArk.org.

© Photo by Joel Sartore/National Geographic Photo Ark Two Golden snub-nosed monkeys, Rhinopithecus roxellana, at Ocean Park Hong Kong.

Two Golden snub-nosed monkeys, Rhinopithecus roxellana, at Ocean Park Hong Kong.© Photo by Joel Sartore/National Geographic Photo Ark. 

© Photo by Joel Sartore/National Geographic Photo Ark A pygmy slow loris, Nycticebus pygmaeus, at Omaha's Henry Doorly Zoo and Aquarium.

© Photo by Joel Sartore/National Geographic Photo Ark. A pygmy slow loris, Nycticebus pygmaeus, at Omaha’s Henry Doorly Zoo and Aquarium.

Please note that this is not a gift to the Auburn University Foundation or the Jule Collins Smith Museum of Fine Art.

© Photo by Joel Sartore/National Geographic Photo Ark. An endangered Malayan tiger, Panthera tigris jacksoni, at Omaha Henry Doorly Zoo.

Joel Sartore Public Keynote at Foy Auditorium

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Graphic with information of March 2 lecture with Joel Sartore. © Photo by Joel Sartore/National Geographic Photo Ark. An endangered Malayan tiger, Panthera tigris jacksoni, at Omaha Henry Doorly Zoo. For more go to NatGeoPhotoArk.org.

About Joel Sartore

Joel Sartore is a photographer, speaker, author, teacher, conservationist, National Geographic fellow and regular contributor to National Geographic magazine. His hallmarks are a sense of humor and a midwestern work ethic.

Sartore started the Photo Ark some 11 years ago in his hometown of Lincoln, Nebraska. Since then he’s visited 40 countries in his quest to create this photo archive of global biodiversity. Sartore has produced several books including RARE: Portraits of America’s Endangered Species, Photographing Your Family, and two new National Geographic Photo Ark books: “The Photo Ark” and “Animal Ark.”

National Geographic Photo Ark fans are also invited to join the conversation on social media with #SaveTogether and learn more about how to get involved with the project at NatGeoPhotoArk.org.

In addition to the work he has done for “National Geographic,” Sartore has contributed to Audubon magazine, “Life,” “The New York Times,” “Sports Illustrated” and numerous book projects. Sartore and his work have been the subjects of several national broadcasts, including “National Geographic’s Explorer,” “NBC Nightly News,” NPR’s “Weekend Edition,” “Fresh Air with Terry Gross” and the PBS documentary series, “Rare: Portraits of the Photo Ark.” He is also a regular contributor on the “CBS Sunday Morning Show.”

Sartore graduated from the University of Nebraska with a degree in journalism. He currently lives in Nebraska with his wife and children.

Photographer Joel Sartore captures images of some of the world’s rarest animals in a studio setting. The National Geographic fellow will share a behind-the-scenes look at his Photo Ark project and offer a glimpse into what it’s like working with these special subjects.

Free and open to the public. Seating is limited and begins at 3:30 pm.

Pictured Right: © Photo by Joel Sartore/National Geographic Photo Ark. Photo by Grahm S. Jones, Columbus Zoo and Aquarium, Ohio After a photo shoot at the Columbus Zoo in Ohio, a clouded leopard cub climbs on Sartore’s head. The leopards, which live in Asian tropical forests, are illegally hunted for their spotted pelts. For more information, go to NatGeoPhotoArk.org.

Photo by Grahm S. Jones.Columbus Zoo and Aquarium, Ohio After a photo shoot at the Columbus Zoo in Ohio, a clouded leopard cub climbs on Sartore’s head. The leopards, which live in Asian tropical forests, are illegally hunted for their spotted pelts.
© Photo by Joel Sartore/National Geographic Photo Ark. A federally endangered Florida panther,

© Photo by Joel Sartore/National Geographic Photo Ark. A federally endangered Florida panther, Puma concolor coryi, at Tampa’s Lowry Park. Zoo. For more go to NatGeoPhotoArk.org.

© Photo by Joel Sartore/National Geographic Photo Ark Two Golden snub-nosed monkeys, Rhinopithecus roxellana, at Ocean Park Hong Kong.

© Photo by Joel Sartore/National Geographic Photo Ark. Two Golden snub-nosed monkeys, Rhinopithecus roxellana, at Ocean Park Hong Kong. For more, go to NatGeoPhotoArk.org.

© Photo by Joel Sartore/National Geographic Photo Ark A pygmy slow loris, Nycticebus pygmaeus, at Omaha's Henry Doorly Zoo and Aquarium.

© Photo by Joel Sartore/National Geographic Photo Ark. A pygmy slow loris, Nycticebus pygmaeus, at Omaha’s Henry Doorly Zoo and Aquarium. For more go to NatGeoPhotoArk.org.

Can’t make it? You’ll find a live stream of the event on this page on March 2, 2018 at 4 pm.

Mary Cassatt (American, 1844–1926) Kneeling in an Arm Chair, 1903 Edition: ca. 50, numbered 2 in pencil Drypoint engraving 11 7/8 x 9 9/16 inches Courtesy Pia Gallo

Collection Spotlight- Mary Cassatt

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Mary Cassatt
(American, 1844–1926)
Kneeling in an Arm Chair, 1903
Edition: ca. 50, numbered 2 in pencil
Drypoint engraving
Courtesy Pia Gallo

Mary Cassatt was born into a family of wealth and privilege who objected to her aspirations of becoming a professional artist. In spite of this lack of familial support, Cassatt today is recognized as one of America’s most significant masters of the late 19th and early 20th century. As an ex-patriate she is credited with influencing and shaping American art tastes as evidenced by the Havemeyer Collection of Impressionism now in the Metropolitan Museum of Art in New York.

At the early age of fifteen, Cassatt began her formal studies at the Pennsylvania Academy of the Fine Arts in Philadelphia but she was disappointed in the limited instruction she received as a female student. In 1866, she persuaded her mother to move with her to Paris where she continued her studies under the private tutelage of Jean-Léon Gérôme and later Thomas Couture. By 1868, she had a painting selected to be in the Paris Salon, but it would be another decade before Cassatt would find her true artistic identity among the Impressionists, that infamous group of painters that defied academic tradition. Her introduction to the group came through Edgar Degas, who encouraged Cassatt to explore other media such as pastel and intaglio printmaking on copper plate (which she was first introduced to by Carlo Raimondi in Parma, Italy in 1872). Over the next few decades she would become extremely skillful and innovative at both mediums.

During her years in Paris, Cassatt’s extended family was a constant presence and were the subject of several of her paintings. Many of these images include her closely observed treatments of a mother and child, for which she became known. She did not over-romanticize these images, but focused instead on the individuality and temperament of her subjects.

“Kneeling in an Arm Chair is an exceptionally fine, early impression of this drypoint image from 1903, which features Margot, the daughter of Reine Lefebvre who lived near the artist’s summer home, Chateau de Beaufresne at Mesnil-Theribus in Oise,” said Marilyn Laufer, director, Jule Collins Smith Museum of Fine Art. “Both mother and child often sat for Cassatt. There is undoubtedly an ease and familiarity with her young subject, which enabled Cassatt to capture that fleeting moment when the child paused to consider something outside the picture frame. Her gaze is wistful, but in an instant, we know that her impatience will return and she will resume her childlike perpetual motion.”

Mary Cassatt (American, 1844–1926) Kneeling in an Arm Chair, 1903 Edition: ca. 50, numbered 2 in pencil Drypoint engraving 11 7/8 x 9 9/16 inches Courtesy Pia Gallo
Hye Yeon Nam (Louisiana, b. 1979) Floating Identity, 2017 Plexiglas and silicone (kinetic sculpture)

Share and save: “Out of the Box” Event Pics

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JCSM is so grateful to have so many friends and new visitors to the Out of the Box: A Juried Outdoor Sculpture Exhibition outreach programs and grand opening celebration. We hope you had a great time and will share and save your favorite pictures.

With a varied exhibition schedule featuring historic and contemporary art and more than 200 free arts programs per year, JCSM has transformational experiences for all ages and stages!

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AU Faculty Bill Schaffer Will Perform Chamber Music for French Horn

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On Thursday, March 30 from noon to 1:00 pm, the series will present a free concert of chamber music featuring Bill Schaffer on French horn. Joining him will be pianist Joshua Pifer and trombonist Matthew Wood. The concert will feature music by Louis Piantioni, Nicolas de Krufft, Alex Wilder, and Luigi Caracciolo.

Gifts from Bob Ekelund & Mark Thornton and anonymous friends of the series have helped to make this concert possible.

Luigi Caracciolo was a late-1800s composer. His “Tuscan Folk Songs” includes colorful titles like “A Streamlet Full of Flowers” and “Oh! Happy Are the Blind.” Caracciolo wrote the songs for soprano and baritone voices with piano, a popular type of song during that period. Schaffer arranged Thursday’s version of the piece, substituting French horn and trombone for the vocal parts. Wood will play the trombone part.

Schaffer said arranging for his instrument is a big part of his life. Some of it is published by RM Williams Publishing, a small firm that specializes in music for the horn. He said he’s been arranging since college and does a lot ensemble pieces.

French horn player Bill Schaffer


As a faculty member at Auburn, Schaffer acknowledged that publishing music for his instrument is part of Promotion and Tenure. But he said he is also very motivated by a desire to make new repertoire for students of the instrument. “You want to do stuff so that horn players will have stuff to use.”

Though there is a small income stream from his specialized arrangements, Schaffer said it isn’t very much. “This is really not about the money,” he said, adding that his entire market is the country’s 200-or-so horn ensembles. He said it’s more about getting your music performed and supporting the community of people who play and study the instrument.

“There is a real fraternity among horn players,” said Schaffer, adding that the idea is instilled early in a player’s formation. He said one of his teachers once told him, “You’re a part of a family of people who get up every morning and wrestle with the dragon that is going to bite you.”

Schaffer said his teacher was referring to the extreme difficulty of the instrument. Perhaps more than with most instruments, Schaffer said there is the constant danger of making a very loud, very noticiable mistake, and that it happens even to the very top players. “Everyone face plants,” he said. He said they don’t judge or criticize each other for it, because, “Next week, it will be you.”

As he will do Thursday, Schaffer likes to open recitals with a piece by Louis Piantoni, “Air de chasse,” from the early 20th century. Pifer will join him on what he described as a happy, short piece that sounds like a composer writing music for his students to play on recital.

Schaffer and Pifer will perform “Five Love Songs,” originally written by Alec Wilder (1907-1980) for horn and orchestra and commissioned by Morris Seacon. He said all five movements sound like 1950s New York City jazz ballads.

Nicolas de Krufft lived and wrote music around the turn of the 19th century. Schaffer said this period of the late 1700s and 1800s was a great one for horn music. Very well-known composers like Joseph Haydn, Wolfgang Amadeus Mozart, Luigi Cherubini, Johannes Brahms, and Camille Saint-Saens wrote for the instrument.

But Schaffer said a lot of lesser-known composers added to the repertoire during that period. He likes to highlight those, and de Krufft is one of them. Schaffer holds the piece in as high regard as the more commonly heard ones. “I think it’s as good as or better than most of the pieces that get played.”

During Schaffer’s career he has taught every level from Kindergarten through graduate school. He has remained active as a performer since the early 1980’s and currently serves as principal horn with Sinfonia Gulf Coast in Florida.

Pifer is Lecturer in Piano at Auburn University. In December 2015, Joshua released his solo CD, “Alexander Tcherepnin: My Favorite Piano Works” with Puros Records.

Wood is Associate Professor of Low Brass at Auburn. In 2015, he was awarded a Southeastern Conference Visiting Travel Grant. Prior to joining the Auburn faculty, he was a performer, educator, and clinician in the Austin and San Antonio areas.

Serebryany Will Perform Beethoven’s “Hammerklavier” Sonata

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On Thursday, March 23 from noon to 1:00 pm, the series will present a free concert in the Auditorium by pianist Vadim Serebryany. The concert will feature Ludwig van Beethoven’s “Hammerklavier” Sonata (Op. 106) and music by Béla Bartók.

A gift by anonymous friends of the series is helping to make this concert possible.

Serebryany will open Thursday’s program with a short, four-movement suite by the Hungarian composer Béla Bartók. Typical of Bartók’s work, the piece draws its influence from the folk music of Eastern Europe.

But Bartok is only a warm up. The main event will be Beethoven’s famous Sonata in B-flat, Op. 106. “It’s just really notoriously hard for the pianist,” he said. At 40 minutes long, he added that it can even take some work from the listener.

Serebryany described the sonata, nicknamed “Hammerklavier,” as extremely complex, dense music. For instance, it includes a fugue section that he described as “relentlessly, densely contrapuntal all the way through for ten minutes.” And he said its slow movement is easily Beethoven’s longest, outside of the string quartets he wrote during the same later period of his life.

“His late music is unique as far as how deeply personal it is,” said Serebryany of Beethoven’s last ten years or so of compositions. “It’s not unfair to say that they are all uniquely strange pieces of music,” he added.

Beethoven is often painted as a tortured person. Some connect his complex and intense music with the struggles of his life. But Serebryany doesn’t see it that way.

Serebryany acknowledges Beethoven’s troubled life, especially during the last years. In addition to the composer’s famous loss of hearing which forced him to stop performing, Serebryany noted the extreme toll taken on him by turn-of-the-century European politics.

Beethoven took much hope for mankind from what was happening in France after its revolution, said Serebryany. He said the composer was a great believer in the steps Napoleon was taking, moving forward in the new democracy of the French Republic. But when Napoleon declared himself Emperor in 1804, Serebryany said Beethoven was crushed.

The subsequent Napoleonic Wars that included two campaigns through Austria put further stress on Beethoven, said Serebryany. Though a proponent of universal brotherhood, the composer’s closest friends were in the Viennese aristocracy. The wars forced them to flee the country.

Despite all of this, Serebryany sees Beethoven’s art as less affected by his troubles and more by his artistic temperament. Unlike Beethoven’s contemporary, composer Richard Strauss, who wrote his waltzes in his signature way until the end, Beethoven was always looking for solutions to musical problems, said Serebryany.

“He was the epitome of the idea of never being satisfied,” said Serebryany. “He pushed the boundaries of the harmony he inherited.”

In fact, the “Hammerklavier” sonata was the first piece Beethoven wrote after a ten-year period of producing nothing. Serebryany said Beethoven felt he had nowhere to go, so didn’t see any reason to write anything at all.

But even if Beethoven’s work, and especially his later work, seems at times dark and brooding, Serebryany said there is evidence of hope. He referenced Beethoven’s Ninth Symphony setting of Friedrich Schiller’s poem, “Ode to Joy,” as evidence of the composer’s persistent faith in people’s ability to come together for the sake of a better world.

Serebryany said Beethoven’s life and music support the idea that all was not gloomy for the composer. “Beethoven ultimately doesn’t have a pessimistic worldview,” he said, adding that there are always glimpses of Paradise, even in the intense and complex “Hammerklavier.”

Serebryany has performed in Europe, South America, Australia and throughout the US, Canada and Japan. He has been a guest soloist with the National Arts Center Orchestra, The Kingston Symphony, the Osaka Century Orchestra, and the Montgomery Symphony Orchestra.
In 2005, Serebryany founded Trio+ with violinst Yosuke Kawasaki and cellist Wolfram Koessel. The trio has performed to critical acclaim throughout North America and Japan.
Serebryany is a graduate of the Royal Conservatory of Music of Toronto, the Juilliard School and Yale University. From 2008 to 2016, he was professor of music at Huntingdon College in Montgomery, and in 2015 was named Huntingdon’s first ever Belcher-Cheek Artist in Residence. He joined the piano faculty at the Ithaca College School of Music in 2016.

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Tutto quello che vuoi: Italian Film Festival

October 21 @ 1:00 pm - 2:46 pm
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