Tag Archives: George Balanchine

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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KIRSTEIN ON VAN VECHTEN

Carl Van Vechten made Harlem real to me…. [He] found the natural flair, the talent for rhythm and expressiveness, the joy, the fire, the murder, and the verbal accuracy in the vernacular in the day-to-day life….To us, Harlem was far more an arrondissement of Paris than a battleground of Greater New York. It was the Harlem of Josephine Baker….open and welcoming to Miguel Covarrubias, to Muriel Draper, and to all writers and artists who recognized in its shadows the only true elegance in America….

“Carl was the first person who told me how Nijinsky danced, in such a manner and with such intensity that I often used his description later as a personal lie, pretending to have experienced this dancer, who, in real life, I had never seen. Yet, somehow, I never, at least to myself, felt myself a liar. I had merely used Carl’s eyes.”

— from: Lincoln Kirstein, “Carl Van Vechten: 1880–1964,” in By With To & From: A Lincoln Kirstein Reader, ed. Nicholas Jenkins (New York: Farrar, Straus & Giroux, 1991), 31–37.

Writer, editor, arts patron, and entrepreneur Lincoln Kirstein (1907–1996)—a neo-classical modernist—was the founder of the Harvard Society for Contemporary Art (a direct antecedent to the Museum of Modern Art), and co-founder—with George Balanchine—of the School of American Ballet and the New York City Ballet.

Carl Van Vechten—court photographer for the Harlem Renaissance and Manhattan’s literati and performing arts worlds throughout the 1930s, 40s, and 50s—was also a dance critic, novelist, and Gertrude Stein’s literary executor.

See Martin Duberman, The Worlds of Lincoln Kirstein (New York: Alfred A. Knopf, 2007); and Edward White, The Tastemaker: Carl Van Vechten and the Birth of Modern America (New York: Farrar, Straus & Giroux, 2014).

From top: Walker Evans, Lincoln Kirstein, in Cambridge, Massachusetts, 1928; Pavel Tchelitchew, Portrait of Lincoln Kirstein, 1937.

TILER PECK’S BALLET NOW

In the local dance world, there are few things rarer or more anticipated than a West Coast visit by the New York City Ballet. This weekend, principal Tiler Peck is bringing out ten of her City Ballet colleagues for her three BalletNOW programs at the Dorothy Chandler Pavilion.*

Joining Peck and company are four of their Lincoln Center neighbors, American Ballet Theatre principals Isabella Boylston, Marcelo Gomes, Cory Stearns, and James Whiteside. From Florida, Jeanette Delgado and Kleber Rebello are repping Miami City Ballet, and from Europe, Peck is importing Lauren Cuthbertson and Reece Clarke from the Royal Ballet, and Marc Moreau from the Paris Opera Ballet.

It’s not all ballet, either. From the world of tap, Michelle Dorrance will be joined by her dancer Byron Tittle in Friday night’s opening number 1-2-3-4-5-6Virgil “Lil O” Gadson (So You Think You Can Dance) also performs in the Dorrance piece, and the one-and-only Bill Irwin will dance with Peck on Saturday night.

Works by George Balanchine, Kenneth MacMillan, and Justin Peck will be danced in all three performances, and Jerome Robbins Fancy Free will close out the show on opening night and the Sunday matinee. A live orchestra will perform from the pit, conducted by Grant Gershon.

BALLET NOW, Friday and Saturday night, July 28 and 29, at 7:30 pm. Sunday afternoon, July 30, at 2 pm.

DOROTHY CHANDLER PAVILION, Music Center, downtown Los Angeles.

musiccenter.org/balletnow

musiccenter.org/globalassets/2017pac/docs/balletnow2017/index.html#9

*New York City Ballet dancers include principals Taylor Stanley and Daniel Ulbricht, soloists Lauren King, Indiana Woodward, and Zachary Catazaro, and corps de ballet members Preston Chamblee, Harrison Coll, Rachel Hutsell, Claire Kretzschmar, and Lars Nelson.

From top: Marc Moreau, photograph by Julien Benhamou. Byron Tittle, image credit Dorrance Dance. Tiler Peck, image credit Dance at the Music Center.

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