Tag Archives: Ben Shahn

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.


CHARLES WHITE AND HIS CIRCLE

This is the closing weekend for TRUTH & BEAUTY—CHARLES WHITE AND HIS CIRCLE, an exhibition of works by the great draftsman and his friends and colleagues, reflecting White’s working life in Chicago, New York, and Los Angeles—the host cities of his concurrent retrospective.

Among White’s circle and included in the show are Romare Bearden, Betye SaarRoy DeCarava, Philip Evergood, Robert Gwathmey, David Hammons, Jacob Lawrence, Gordon Parks, Norman Lewis, Ben ShahnJohn Biggers, Eldzier Cortor, Kerry James Marshall, and Hale Woodruff.

TRUTH & BEAUTY—CHARLES WHITE AND HIS CIRCLE

Through Saturday, November 10.

Michael Rosenfeld Gallery, 100 Eleventh Avenue (at 19th Street), New York City.

 

CHARLES WHITE—A RETROSPECTIVE

Through January 13.

Museum of Modern Art, 11 West 53rd Street, New York City.

The retrospective will be on view in Los Angeles in early 2019, along with two coincident exhibitions: LIFE MODEL—CHARLES WHITE AND HIS STUDENTS at LACMA’s satellite gallery at Charles White Elementary School—formerly Otis Art Institute, where the artist taught for many years—and a show at CAAM.

CHARLES WHITE—A RETROSPECTIVE

February 17 through June 9.

LACMA, 5905 Wilshire Boulevard, Los Angeles.

From top:

Charles WhiteJ’Accuse! No.5, 1966, Wolff crayon and charcoal on paper.

Betye SaarThe Mystic Window #1, 1965, assemblage with etchings, graphite, ink, and watercolor on paper in antique window frame.

Romare BeardenFlights and Fantasy, 1970, mixed media collage of various papers and synthetic polymer paint on Masonite.

Charles WhiteUntitled, 1945, tempera and graphite on illustration board.

Charles WhiteJuba #2, 1965, Wolff crayon and oil wash on illustration board.

Image credit: Michael Rosenfeld Gallery.