Performance view of Transmissions, Whitney Museum of American Art, New York
installation view of Transmissions, Whitney Museum of American Art, New York
photo: Ron Amstutz
Performance view of Transmissions, Whitney Museum of American Art, New York
installation view of Transmissions, Whitney Museum of American Art, New York
Performance view of Transmissions, Whitney Museum of American Art, New York
Installation view of Nick Mauss: Transmissions, Whitney Museum of American Art, New York, 3/16 - 5/14/2018
Left to right: Elie Nadelman, Untitled, c. 1938-46; Elie Nadleman, Untitled, c. 1938-46; Elie Nadelman, Untitled, c. 1938-46; Elie Nadelman, Untitled, c. 1938-46; John Storrs, Forms in Space, c. 1924; Man Ray, New York, 1917/1966; Gaston Lachaise, Man Walking, 1933. Photograph by Ron Amstutz. Digital image © Whitney Museum of American Art, New York
Installation view of Nick Mauss: Transmissions, Whitney Museum of American Art, New York, 3/16 - 5/14/2018
Left to right, top to bottom: Pavel Tchelitchew, Costume designs for Variations on Euclid, (premiered as Expanding Universe), choreographed by Ruth Page for XX, c. 1946-48; Pavel Tchelitchew, Set design by Pavel Tchetlichew for Nobilissima Visione (also known as St. Francis), choreographed by Leonide Massine for Ballets Russe de Monte Carlo, c. 1938; Pavel Tchelitchew, Window display for shoes after set design by Pavel Tchelitchew for Nobilissima Visione (also known as St. Francis); Pavel Tchelitchew, Costume design for Variations on Euclid, choreographed by Ruth Page for XX, c. 1932; Unknown artist, Dance of the Eyes (Dancer Loïe Fuller), c. 1907; Dorthea Tanning, Costume Design for dancer Merriam Lanova in The Night Shadow, choreographed by George Balanchine for Ballet Russe de Monte Carlo, 1945; Dorthea Tanning, Costume design for dancer Shirley Weaver in The Night Shadow, choreographed by George Balanchine for Ballet Russe de Monte Carlo, 1945; Dorthea Tanning, Costume designs by Dorthea Tanning for The Night Shadow, choreographed by George Balchine for Ballet Russe de Monte Carlo, c. 1946-48; Dorthea Tanning, Costume design for dancer Shirley Weaver in The Night Shadow, choreographed by George Balanchine for Ballet Russe de Monte Carlo, 1945; Dorthea Tanning, Costume design for The Night Shadow, choreographed by George Balachine for Ballet Russe de Monte Carlo, 1945; Eugène Berman, Painted three-fold screen with watercolor sketches (1937-42), 1944; Pavel Tchelitchew, Head of Man (Interior Landscape), 1944; Walker Evans, Lincoln Kirstein (Without Hat), 1931; Elie Nadelman, Head of a Woman, c. 1925; Pavel Tchelitchew, Costume Design for Variations on Euclid (premiered as Expanding Universe), choregraphed by Ruth Page for XX, c. 1932; Pavel Tchelitchew, Costume designs for Ode, choreographed by Leonide Massine for Sergei Diaghilev’s Ballets Russes. Photograph by Ron Amstutz. Digital image © Whitney Museum of American Art, New York
Installation view of Nick Mauss: Transmissions, Whitney Museum of American Art, New York, 3/16 - 5/14/2018
Left to right: Nick Mauss, Images in Mind, 2018; George Platt Lynes, Dancer Jacques D’Amboise in a costume designed by Paul Cadmus for Filling Station, choreographed by Lew Christensen for Ballet Caravan, 1938; George Platt Lynes, Cabaret Performer James Leslie Daniels, c. 1937; Pavel Tchelitchew, Anatomical Painting, 1946; Pavel Tchelitchew, Costume designs for Variations on Euclid, (premiered as Expanding Universe), choreographed by Ruth Page for XX, c. 1946-48; Pavel Tchelitchew, Set design by Pavel Tchetlichew for Nobilissima Visione (also known as St. Francis), choreographed by Leonide Massine for Ballets Russe de Monte Carlo, c. 1938; Pavel Tchelitchew, Window display for shoes after set design by Pavel Tchelitchew for Nobilissima Visione (also known as St. Francis); Pavel Tchelitchew, Costume design for Variations on Euclid, choreographed by Ruth Page for XX, c. 1932. Photograph by Ron Amstutz. Digital image © Whitney Museum of American Art, New York
Installation view of Nick Mauss: Transmissions, Whitney Museum of American Art, New York, 3/16 - 5/14/2018
Left to right, top to bottom: Martha Swope, Dancers Arthur Mitchell, Diana Adams, George Balachine, and Igor Stravinsky during rehearsals for Agon, choreographed by George Balachine for New York City Ballet, 1957; New York City Ballet souvenir program from the company’s second European Tour through Spain, France, Italy, the Netherlands, England, Scotland, and Germany, 1952; Charles Henri Ford, 'Ballet for Tamara Toumanova", in View (2nd series, no. 4, January 1943, "AMERICANA FANTASTICA"), 1943; Ballet Theatre program for the 1951-52 Season, 1951; Ruth Page photographed by Maurice Seymore in costume designed by Pawel Tchelitchew for Page's 'Variations on Euclid', in the publication Ruth Page and Harald Kreutzberg, with poem and introduction by Mark Turbyfill, c. 1936; Pavel Tchelitchew, Design for Balustrade, choreographed by George Balachine for the original Ballet Russe (inscribed “To Fidelma and Lincoln, a souvenir of pink in a grey time”); Eugène Berman, Stage model for Concerto Barocco, choreographed by George Balanchine for American Ballet Caravan, 1941; Pavel Tchelitchew, Head of Man (Interior Landscape), 1944; Walker Evans, Lincoln Kirstein (Without Hat), 1931; Elie Nadelman, Head of a Woman, c. 1925; Pavel Tchelitchew, Costume Design for Variations on Euclid (premiered as Expanding Universe), choregraphed by Ruth Page for XX, c. 1932; Pavel Tchelitchew, Costume designs for Ode, choreographed by Leonide Massine for Sergei Diaghilev’s Ballets Russes. Photograph by Ron Amstutz. Digital image © Whitney Museum of American Art, New York
Installation view of Nick Mauss: Transmissions, Whitney Museum of American Art, New York, 3/16 - 5/14/2018
Wall installation: Nick Mauss, Images in Mind, 2018. Left to right: Documentation of George Balachine chorerography in rehearsals, 1951-58; Pavel Tchelitchew, Interior Landscape Skull, 1949; John Storrs, Forms in Space #1, c. 1924; Elie Nadelman, Two Circus Women, c. 1928-29; Gustav Natorp figure (formerly owned by Lincoln Kirstein), 1898; Sturtevant, Relâche, 1967; Ilse Bing, Untitled (Skyscrapers, night, NY), 1936; Isle Bing, Dead End II, 1936. Photograph by Ron Amstutz. Digital image © Whitney Museum of American Art, New York
Installation view of Nick Mauss: Transmissions, Whitney Museum of American Art, New York, 3/16 - 5/14/2018
Left to right: Dorthea Tanning, Aux environs de Paris (Paris and Vicinity), 1962; Nick Mauss, Images in Mind, 2018; Documentation of George Balachine chorerography in rehearsals, 1951-58; Pavel Tchelitchew, Interior Landscape Skull, 1949; John Storrs, Forms in Space #1, c. 1924; Elie Nadelman, Two Circus Women, c. 1928-29; Gustav Natorp figure (formerly owned by Lincoln Kirstein), 1898; Sturtevant, Relâche, 1967; Ilse Bing, Untitled (Skyscrapers, night, NY), 1936; Ilse Bing, Dead End II, 1936.; Ilse Bing, Three Birds in the Sky, Paris, 1936; Ilse Bing, Between France and U.S.A. (Seascapes), 1936; Elie Nadleman, Untitled, c. 1938-46; Elie Nadelman, Untitled, c. 1938-46; Elie Nadelman, Untitled, c. 1938-46; Elie Nadelman, Untitled, c. 1938-46; Carl Van Vechten, Al Bledger of the Von Grona (American) Negro Ballet, 1938; Carl Van Vechten, Al Bledger of the Von Grona (American) Negro Ballet, 1938; Carl Van Vechten, Carl Van Vechten slideshow, 1940-64. Photograph by Ron Amstutz. Digital image © Whitney Museum of American Art, New York
Installation view of Nick Mauss: Transmissions, Whitney Museum of American Art, New York, 3/16 - 5/14/2018
Left to right: Dorthea Tanning, Aux environs de Paris (Paris and Vicinity), 1962; Nick Mauss, Images in Mind, 2018; Documentation of George Balachine chorerography in rehearsals, 1951-58; Pavel Tchelitchew, Interior Landscape Skull, 1949; John Storrs, Forms in Space #1, c. 1924; Elie Nadelman, Two Circus Women, c. 1928-29; Gustav Natorp figure (formerly owned by Lincoln Kirstein), 1898; Sturtevant, Relâche, 1967; Ilse Bing, Untitled (Skyscrapers, night, NY), 1936; Ilse Bing, Dead End II, 1936.; Ilse Bing, Three Birds in the Sky, Paris, 1936; Ilse Bing, Between France and U.S.A. (Seascapes), 1936; Elie Nadleman, Untitled, c. 1938-46; Elie Nadelman, Untitled, c. 1938-46; Elie Nadelman, Untitled, c. 1938-46; Elie Nadelman, Untitled, c. 1938-46; Carl Van Vechten, Al Bledger of the Von Grona (American) Negro Ballet, 1938; Carl Van Vechten, Al Bledger of the Von Grona (American) Negro Ballet, 1938; Carl Van Vechten, Carl Van Vechten slideshow, 1940-64. Photograph by Ron Amstutz. Digital image © Whitney Museum of American Art, New York
Installation view of Nick Mauss: Transmissions, Whitney Museum of American Art, New York, 3/16 - 5/14/2018
Left to right: Carl Van Vechten, Al Bledger of the Von Grona (American) Negro Ballet, 1938; Carl Van Vechten, Al Bledger of the Von Grona (American) Negro Ballet, 1938; Carl Van Vechten, Carl Van Vechten slideshow, 1940-64; New York City Ballet souvenir program from the company’s second European Tour through Spain, France, Italy, the Netherlands, England, Scotland, and Germany, 1952; Charles Henri Ford, 'Ballet for Tamara Toumanova", in View (2nd series, no. 4, January 1943, "AMERICANA FANTASTICA"), 1943; Ballet Theatre program for the 1951-52 Season, 1951; Ruth Page photographed by Maurice Seymore in costume designed by Pawel Tchelitchew for Page's 'Variations on Euclid', in the publication Ruth Page and Harald Kreutzberg, with poem and introduction by Mark Turbyfill, c. 1936; George Platt Lynes, Dancer Jacques D’Amboise in a costume designed by Paul Cadmus for Filling Station, choreographed by Lew Christensen for Ballet Caravan, 1938; George Platt Lynes, Cabaret performer James Leslie Daniels, c. 1937; Pavel Tchelitchew, Anatomical Painting, 1946. Photograph by Ron Amstutz. Digital image © Whitney Museum of American Art, New York
Installation view of Nick Mauss: Transmissions, Whitney Museum of American Art, New York, 3/16 - 5/14/2018
Clockwise, from bottom left: Elie Nadelman, Untitled, c. 1938-46; Elie Nadelman, Untitled, c. 1938-46; Elie Nadelman, Untitled, c. 1938-46; John Storrs, Forms in Space, c. 1924; Man Ray, New York, 1917/1966; Gaston Lachaise, Man Walking, 1933; Dorthea Tanning, Aux environs de Paris (Paris and Vicinity), 1962; Nick Mauss, Images in Mind, 2018; Pavel Tchelitchew, Interior Landscape Skull, 1949; John Storrs, Forms in Space #1, c. 1924; Elie Nadelman, Two Circus Women, c. 1928-29; Gustav Natorp figure (formerly owned by Lincoln Kirstein), 1898; Sturtevant, Relâche, 1967; Ilse Bing, Untitled (Skyscrapers, night, NY), 1936; Isle Bing, Dead End II, 1936.; Ilse Bing, Three Birds in the Sky, Paris, 1936; Ilse Bing, Between France and U.S.A. (Seascapes), 1936; Elie Nadleman, Untitled, c. 1938-46; Elie Nadelman, Untitled, c. 1938-46; Elie Nadelman, Untitled, c. 1938-46; Elie Nadelman, Untitled, c. 1938-46; Carl Van Vechten, Al Bledger of the Von Grona (American) Negro Ballet, 1938; Carl Van Vechten, Al Bledger of the Von Grona (American) Negro Ballet, 1938; Carl Van Vechten, Carl Van Vechten slideshow, 1940-64. Photograph by Ron Amstutz. Digital image © Whitney Museum of American Art, New York
Installation view of Nick Mauss: Transmissions, Whitney Museum of American Art, New York, 3/16 - 5/14/2018
Left to right: Carl Van Vechten, Al Bledger of the Von Grona (American) Negro Ballet, 1938; Carl Van Vechten, Al Bledger of the Von Grona (American) Negro Ballet, 1938; Carl Van Vechten, Carl Van Vechten slideshow, 1940-64; Martha Swope, Dancers Arthur Mitchell, Diana Adams, George Balachine, and Igor Stravinsky during rehearsals for Agon, choreographed by George Balachine for New York City Ballet, 1957; New York City Ballet souvenir program from the company’s second European Tour through Spain, France, Italy, the Netherlands, England, Scotland, and Germany, 1952; Charles Henri Ford, 'Ballet for Tamara Toumanova", in View (2nd series, no. 4, January 1943, "AMERICANA FANTASTICA"), 1943; Ballet Theatre program for the 1951-52 Season, 1951; Ruth Page photographed by Maurice Seymore in costume designed by Pawel Tchelitchew for Page's 'Variations on Euclid', in the publication Ruth Page and Harald Kreutzberg, with poem and introduction by Mark Turbyfill, c. 1936; George Platt Lynes, Dancer Jacques D’Amboise in a costume designed by Paul Cadmus for Filling Station, choreographed by Lew Christensen for Ballet Caravan, 1938; George Platt Lynes, Carbaret performer James Leslie Daniels, c. 1937; Pavel Tchelitchew, Costume designs for Errante, choreographed by George Balachine for Les Ballets 1933, c. 1933; Pavel Tchelitchew, Set design by Pavel Tchelitchew for Nobilissima Visione (also known as St. Francis), choreographed by Leonide Massine for Ballets Russe de Monte Carlo, c. 1938; Pavel Tchelitchew, Window display for shoes after set design by Pavel Tchelitchew for Nobilissima Visione (also known as St. Francis), c. 1938. Photograph by Ron Amstutz. Digital image © Whitney Museum of American Art, New York
Installation view of Nick Mauss: Transmissions, Whitney Museum of American Art, New York, 3/16 - 5/14/2018
Left to right: George Platt Lynes, Tex Smutney, 1941; George Platt Lynes, Paul Cadmus and Jared French (artists), 1937; George Platt Lynes, Laurie Douglas Harvach (model), 1944; George Platt Lynes, Nicholas Magallanes (dancer), c. 1938; George Platt Lynes, Diana Adams (dancer), 1951; Ann Barzel, 1936-52. Photograph by Ron Amstutz. Digital image © Whitney Museum of American Art, New York
Installation view of Nick Mauss: Transmissions, Whitney Museum of American Art, New York, 3/16 - 5/14/2018
Left to right: George Platt Lynes, Paul Cadmus and Jared French (artists), 1937; George Platt Lynes, Laurie Douglas Harvach (model), 1944; George Platt Lynes, Nicholas Magallanes (dancer), c. 1938; George Platt Lynes, Diana Adams (dancer), 1951; Ann Barzel, 1936-52; George Platt Lynes, Maria Tallchief (dancer), 1953; George Platt Lynes, John Van Sikken, c. 1940; George Platt Lynes, John Leaphart and Bill Blizzard, 1953. Photograph by Ron Amstutz. Digital image © Whitney Museum of American Art, New York