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The Stuff of Dreams
Nineteen-year-old Ossip Zadkine, from a family of Smolensk boat builders, arrived in Paris in 1909 with a pipe, a Webster’s dictionary, a copy of The Lives of Great Men, and a suitcase filled with vivid memories of his native Russian forests. “I entered into a lifelong marriage with the vertical column of a pine tree trunk,” he would later say about his quest to tease movement, poetry, and philosophy from the beloved wood that had surrounded him as a boy. READ ON
Ossip Zadkine’s Les Vendanges, in elm. “The Dreamer of the Forest” opens at the Musée Zadkine, in Paris, on September 27.
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Open Book
Betye Saar, the ever photogenic high priestess of politically potent assemblage sculpture, is still at work in her Hollywood Hills studio. At 93, after almost 50 years of exhibiting her art, Saar is finally ready to reveal the scaffolding that underlies her creative process—her sketchbooks. These small spiral-bound records of her trips and inspirations also chronicle the multi-year evolution of her ideas for particular pieces. READ ON
Betye Saar’s The Edge of Ethics, 2010. “Betye Saar: Call and Response” opens at the Los Angeles County Museum of Art (LACMA) on September 22.
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Change of Scene
Marius Petipa’s ballet of 1877, La Bayadère, was unknown in the West before the 1960s. But once it got out of the Soviet Union, this exotic extravaganza set in ancient India—where the good girl gets eternity and the bad girl gets fouettés—joined the canon, anchored by the iridescent “Kingdom of the Shades,” a passage of pristine geometry in which the hero, stoked by opium, sees the image of his dead beloved multiplying ad infinitum. READ ON
Principal artists Yanela Piñera and soloist Joel Woellner of the Queensland Ballet perform La Bayadère. In a Canadian premiere, the Royal Winnipeg Ballet will present a new, reimagined version by choreographer Greg Horsman.
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