... For “Psyché,” a new production choreographed by Alexei Ratmansky for the Paris Opera Ballet, Kilimnik started from a selection of pre-existing paintings to create five massive, dreamlike backdrops, including an enchanting, moonlit forest and a garden resplendent with clouds, flowers and perfume bottles. She then augmented these with rhinestones, glitter and, for good measure, a host of two-dimensional objects like the five-foot snail that enters and exits the stage at various points during the performance...
Turner, Monet, Twombly: Later Paintings
... Their late work has a looseness and an intensity that comes from the confidence of age, when notions of finish and completion are modified. A review of earlier preoccupations and a strong sense of mortality are also common characteristics of this period of life...
It was a question of keeping art’s social moral dimension in mind. In response to this problem, Poul Gernes was an incurable moralist. In an interview with Jens-Jørgen Thorsen, he constructed a model of comparison with other professions. “A doctor is there to repair a broken arm. A bicycle mechanic is there to put on a new crank. A carpenter repairs the broken leg of a chair. An artist is there to repair a broken morale.” (Aktuelt Weekend, July 15, 1962)