In his two decades of practising architecture, he has designed homes, studios and hotels around the world. As a show in Paris draws to a close, a quick tour.
“ROTHKO IS A WATERCOLORIST.” The typewritten note in Clyfford Still’s unpublished diary, undated but recorded no earlier than 1961, appears as if graven into a largely blank page.1 It is clearly meant as a condemnation: Still had long come to despise his former close friend. No explanation follows, and the painter doubtless believed none was necessary. What other epithet, after all, could more concisely telegraph all that separated them Still, with his vigorous, knife-sculpted impasto and flame-like forms, and Rothko, with his translucent layers and liquid shapes?
What about stating the obvious? When there is significant institutional investment in the performing arts—i.e., France since the 1980s, with their “Centre Chorégraphique Nationaux (CCN)”1—the field radically expands, creators explore, and new dances flourish. The French Dance Reflections Festival in New York this past fall, presented by jewelry company Van Cleef & Arpels, really brought this home to me.