Tag Archives: Arthur Mitchell

LINCOLN KIRSTEIN’S MODERN

The paintings of Ben Shahn, Antonio Berni, Raquel Forner, Honoré Sharrer, and Pavel Tchelitchew, the photography of Walker Evans and George Platt Lynes, the sculpture of Elie Nadelman and Gaston Lachaise, the ballet costumes of Kurt Seligmann, Paul Cadmus, and Jared French, the music of Virgil Thomson, and the philosophy of George Gurdjieff

… all come together in LINCOLN KIRSTEIN’S MODERN, the Museum of Modern Art exhibition devoted to the writer, critic, curator, patron, and impresario who set the aesthetic template for MOMA and brought George Balanchine to America to establish the New York City Ballet.

LINCOLN KIRSTEIN’S MODERN

Through June 15.

Museum of Modern Art

11 West 53rd Street, New York City.

This summer MOMA‘s West 53rd Street location will close for four months—June 15 through October 21—for reconstruction.

From top: George Platt LynesLincoln Kirstein, circa 1948, gelatin silver print, Museum of Modern Art, New York, © 2019 estate of George Platt Lynes; Paul Cadmus, set design for the ballet Filling Station, 1937, cut-and-pasted paper, gouache, and pencil on paper, Museum of Modern Art, New York, gift of Lincoln Kirstein, 1941, © 2018 estate of Paul Cadmus; Walker EvansRoadside View, Alabama Coal Area Town, 1936, gelatin silver print, printed circa 1969 by Charles RodemeyerMuseum of Modern Art, New York, gift of the artist, © 2019 Walker Evans Archive, Metropolitan Museum of Art, New York; Paul CadmusBallet Positions, drawing for the primer Ballet Alphabet, 1939, ink, pencil, colored ink, and gouache on paper (letters reversed on drawing), Museum of Modern Art, New York, gift of Kirstein, © 2019 estate of Paul Cadmus; Pavel TchelitchewHide-and-Seek. 1940–42, oil on canvas, Museum of Modern Art, New York; Harvard Society for Contemporary Art pamphlet. 1931–32, Harvard Society for Contemporary Art scrapbooks, vol. 2 (Autumn 1930–33), Museum of Modern Art Archives, New York; Ben ShahnBartolomeo Vanzetti and Nicola Sacco, 1931–32, gouache on paper on board, Museum of Modern Art, New York, © 2019 estate of Ben Shahn / VAGA at Artists Rights Society (ARS), New York; Pavel Tchelitchew, study for a backdrop for the ballet Apollon Musagète, 1942, gouache, ink, and pencil on paper, Museum of Modern Art, New York, gift of Kirstein; George Platt LynesLew Christensen in Apollon Musagète, June 24, 1937, gelatin silver print, Museum of Modern Art, New York, © 2019 estate of George Platt Lynes.


ARTHUR MITCHELL

“I am a political activist through dance. I believe that dance, and the arts more broadly, can be used as a catalyst for social change—this is why I started the Dance Theatre of Harlem. With my archive at Columbia, artifacts of American dance history and African-American history are accessible to young scholars, academics and the general public.” —Arthur Mitchell

ARTHUR MITCHELL—HARLEM’S BALLET TRAILBLAZER—curated by Lynn Garafola at the Wallach Art Gallery—features an extensive selection from Mitchell’s archive, as well as performance films from throughout his career as a dancer with the New York City Ballet through the founding and directorship of the Dance Theatre of Harlem.

 

ARTHUR MITCHELL—HARLEM’S BALLET TRAILBLAZER, through March 11.

WALLACH ART GALLERY, Columbia University, 615 West 129th Street, New York City.

wallach.columbia.edu/arthur-mitchell-harlems-ballet-trailblazer

See: dancetheatreofharlem.org/legacy

Arthur Mitchell and George Balanchine, New York City Ballet. Photographs by Martha Swope. Image credit: New York Public Library for the Performing Arts.

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