Among the 43 compositions rarely exhibited in the U.S. on view at the Met Breuer in New York from November 15 through February 4 for Edvard Munch: Between the Clock and the Bed is the 1907 oil on canvas “The Sick Child,” measuring 118.7 x 121 cm. Painting from the collection of the Tate Modern, London. EM.024. © 2017 Artists Rights Society (ARS), New York. Photo © Munch Museum. © Tate, London 2015. Courtesy the Met.
Liberté pour tous — ou presque: With (above), “La Bête humaine,” Kristin Meller joins Raoul Velasco, Alain Cabot, Joh Denoa, Françoise Gasser, and Florence Le Van for the exposition “Acte de Creation: Acte de Resistance,” on view through October 15 at the Galerie of the Associated Artists of Belleville at 1 rue Francis Picabia in Paris, with a closing night party Sunday beginning at 7 PM. (Métro Couronnes.)
Fernand Léger (1881-1955), “Project for Paul Eluard’s ‘Liberty, I write your name'” (Detail), 1953. Gouache, ink, and collage on paper, 13 x 51 1/8 inches. Artcurial pre-sale estimate: 80,000 – 120,000 Euros. Image courtesy and copyright Artcurial.
By Paul Ben-Itzak
Copyright 2017 Paul Ben-Itzak
It’s a pity that Paul Lombard was too busy becoming a lion of the law — among other celebrated cases, working on the Chagall, Picasso, Balthus, and Bonnard successions and valiantly defending one of the last men to be executed in France before it banned the death penalty in 1981, Christian Ranucci, in the belief that his client was innocent — to take up a third career (he also wrote books) as a curator. Judging by the breadth and intrepidness of the late Marseille-born advocate’s collection, which goes on sale Tuesday evening at Artcurial in Paris, Lombard was not only an expert in various domains of the law (notably authoring a book on divorce), but could have given seminars to the major museum curators, whose ethos in recent years (with the exception of the Pompidou) seems to be driven by marketing concerns at the expense of curiosity, archeology, and preservation (of art history, I mean), most exhibitions repeatedly trotting out the same artists in new conceptual configurations or combinations.
A perusal of the Artcurial catalog for the Lombard auction confirms that in building a collection which documents several through-lines of art history between them spanning more than 200 years, Lombard, who died in January at the age of 89, was guided by two principles (both familiar to defense lawyers): Explaining (in this case, the sources of artistic movements and individual artists’ inspirations), and shedding light (here, on previously obscure aspects of artists we thought we already knew everything about).
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Among the eight large triptychs on view at the Art Institute of Chicago through March 4, 2018, as part of the exhibition India Modern: The Paintings of M. F. Husain: M. F. Husain, “Indian Dance Forms,” 2008–2011. Usha and Lakshmi N. Mittal. Photo © The Victoria and Albert Museum, London and courtesy the Art Institute of Chicago.
From the exhibition Club 57: Film, Performance, and Art in the East Village, 1978–1983, on view at the Museum of Modern Art from October 31 through April 1, 2018: Keith Haring, Acts of Live Art at Club 57, 1980. Photograph by and copyright Joseph Szkodzinski. Courtesy the artist.
From the exhibition Robert Rauschenberg: Among Friends, running through September 17 at the Museum of Modern Art: Trisha Brown, “Glacial Decoy,” 1979. With costumes, set, and lighting (with Beverly Emmons), by Robert Rauschenberg. From performances by the Trisha Brown Dance Company at the Marymount Manhattan College Theater, New York, June 20–24, 1979. Left to right: Trisha Brown, Nina Lundborg, and Dance Insider contributor Lisa Kraus. (See below for Kraus on setting Brown’s “Glacial Decoy” on the Paris Opera Ballet.) Photograph: Babette Mangolte © 1979 Babette Mangolte. (All Rights of Reproduction Reserved) Courtesy Museum of Modern Art.
By Paul Ben-Itzak, with contribution by Lisa Kraus
Copyright 2003, 2017, Paul Ben-Itzak & Lisa Kraus
PARIS — Why does Trisha Brown have to cross the Atlantic Ocean to find a major ballet company to undertake her choreography? Why does New York City Ballet refuse to look below 42nd Street for additions to its repertoire, instead padding its Balanchine and Robbins legacy with filler from Peter Martins and others? I fumed over these questions last week at the Palais Garnier, as I exalted over the Paris Opera Ballet’s breathless interpretations of two newly acquired American masterpieces, Brown’s 1979 “Glacial Decoy,” with photography, sets, and costumes by Robert Rauschenberg, and Balanchine’s 1960 “Liebeslieder Walzer,” to Brahms.
To receive the complete article, first published on December 30, 2003, subscribers please contact publisher Paul Ben-Itzak at email@example.com. Not a subscriber? Subscribe to the Dance Insider for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Dance Insider Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015. Just designate your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to find out about payment by check. You can also purchase a complete copy of the Archives for just $49 (individuals) or $99 (institutions) Contact Paul at paulbenitzak@@gmail.com .