Getting its delayed New York premiere, “Of Love and Rage,” at Ballet Theater, is like a time capsule of a more carefree period of Ratmansky’s life and art.
ABSENT FROM THE FIRST RANK in modernist art histories, Sonia Delaunay occupies a prime place in narratives of twentieth-century textile design and fashion.1 A current retrospective calls that long-standing evaluation into question. Boldly redefining its subject as an “avant-gardist, entrepreneur and commercially minded businesswoman” descriptors that reverberate richly today the show at the Louisiana Museum of Modern Art in Humlebæk, Denmark, foregrounds its revisionist goals. From the outset, deep-rooted hierarchies segregating the fine and applied arts hierarchies that Delaunay herself never