Tag Archives: Barbican


The first major European retrospective of the artist’s work in half a century, LEE KRASNER—LIVING COLOUR brings together nearly 100 paintings, drawings, collages, and photographs by this pioneer of Abstract Expressionism.

A section of the exhibition at the Barbican reproduces Krasner’s small upstairs studio at the house in the Springs (East Hampton) she shared with Jackson Pollock during the decade of their marriage—from 1945 until Pollock’s death in a car crash in 1956—after which she took over Pollock’s studio and began her work on large, unstretched canvases.

After London, the show will travel to Schirn Kunsthalle Frankfurt.


Through September 1.

Barbican Art Gallery

Silk Street, London.

See Mary Gabriel, Ninth Street Women—Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five Painters and the Movement That Changed Modern Art (New York: Little, Brown, 2018).

From top: Lee Krasner, Polar Stampede, 1960, the Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art, courtesy Kasmin Gallery, New York, photograph by Christopher Stach; Lee Krasner, Desert Moon, 1955, LACMA, © 2018, Digital Image Museum Associates, LACMA, Art Resource, New York, Scala, Florence; Krasner, circa 1938, photographer unknown; Lee Krasner, Palingenesis, 1971, courtesy Kasmin Gallery; Lee Krasner, Abstract No. 2, 1946–1948, Institut Valencià d’Art Modern, photograph provided by IVAM; Lee Krasner, Icarus, 1964, Thomson Family Collection, New York City, courtesy Kasmin Gallery, photograph by Diego Flores; Lee Krasner, Bald Eagle, 1955, collection of Audrey Irmas, Los Angeles, photograph by Jonathan Urban. Images courtesy and © the Pollock-Krasner Foundation.


Former Merce Cunningham dancers and choreographers Rashaun Mitchell and Silas Riener—in collaboration with video artist Charles Atlas—bring their live-dance/3-D video hybrid TESSERACT to Redcat for four performances this week. A London engagement begins at the end of February, 2019.

“The title refers to the four-dimensional analog of a cube, ‘moving from one world to another’ [Riener]. The first half of the show features 3-D footage using a mobile camera rig that moves in conjunction with the choreography, incorporating bits of animation. [In] the second half —a cast of six [dancers performing] in a proscenium setting—Atlas will mix and project real-time live video onto the stage.” — Matt de la Peña*



February 28 through March 2

Barbican Centre

Silk Street, London



Thursday through Saturday, November 30, December 1 and 2, at 8:30 pm.

Sunday, December 3, at 3 pm.


631 West 2nd Street, downtown Los Angeles.


Interview with Charles Atlas, Rashaun Mitchell and Silas Riener

Above: Tesseract at REDCAT. Image credit: L.A. Dance Chronicle.

Below: Charles AtlasRashaun Mitchell, and Silas Riener, Tesseract.

Photographs © Mick Bello / EMPAC.


Luchino Visconti got there first. Ossessione, his unauthorized version of James M. Cain‘s The Postman Always Rings Twice, hit the screens in 1943, and Italian neorealism was born. Hollywood’s noir take, starring Lana Turner and John Garfield, appeared three years later. Postman was remade in the 1980s with Jessica Lange and Jack Nicholson, and Stephen Paulus and Colin Graham turned it into an opera in 1982. This year, avant–garde director Ivo van Hove returned to Cain via Visconti, and brought OBSESSION to the London stage.

Jude Law is Gino, a drifter who arrives at a roadside diner/garage and finds himself in a situation of immediate, mutual attraction with the proprietor’s young wife Hanna (Halina Reijn). Dissatisfied with her lot as kitchen slave and wife of a control freak, Hanna and her lover plot to murder her husband (Gijs Scholten Van Aschat).

L.A. Theatre Works (LATW), the premiere Los Angeles screening venue for National Theatre Live, brings this Barbican Centre/Toneelgroep Amsterdam co-production to the James Bridges Theater at UCLA for an encore on Sunday afternoon, June 4.

OBSESSION screening, Sunday, June 4, at 4 pm.





(Top) Clara Calamai and Massimo Girotti in Ossessione, directed by Luchino Visconti.

Ossessione (1943)
Modern version of the Macbeths … Law and Reijn in Obsession.