• “Sonia Delaunay: The Colors of Abstraction”

    Musée d'Art moderne de la Ville de Paris
    11 avenue du Président Wilson
    October 17, 2014–February 22, 2015

    Curated by Anne Montfort and Cécile Godefroy

    Russian-born Sonia Delaunay-Terk traced her aesthetic breakthrough specifically to 1911, when she created a patchwork quilt for her infant son, “nowadays shown in art galleries as one of the first abstract paintings,” she boasted in 1962. That the sewing of a baby blanket could become the foundation for launching a lifelong career—as an abstract Simultanist painter alongside her husband, Robert Delaunay and, later, an impresario of related fabric and fashion businesses—vividly demonstrates the prototypically twentieth-century possibilities—aesthetic, familial, commercial—she both exploited and helped to introduce. This comprehensive retrospective will include some four hundred examples of her vibrant paintings, murals, graphics, furniture, and textiles, providing a welcome opportunity to view Delaunay-Terk’s superb designs (which paid the family bills) alongside extensive evidence of her equal investment in and talent for the fine art of painting. Travels to Tate Modern, London, Apr. 15–Aug. 9, 2015.

  • Frank Gehry

    Centre Pompidou
    Place Georges-Pompidou
    October 27, 2014–January 5, 2015

    Curated by Gehry Studio/Frédéric Migayrou

    Frank Gehry’s Fondation Louis Vuitton may well be the most technologically advanced building in the world. Its fluid shell has been constructed from more than 3,500 panels of curved glass, each unique and CNC-molded to exact tolerances—a feat of unheard-of virtuosity. Above all, though, the structure showcases Gehry’s artistic control, his ability to transcend the typical constraints of architecture by marshaling staggering resources in the service of his single-minded vision. Gehry’s role as artist-architect will be reinforced by the institution’s inaugural exhibition, documenting the design process for this building, as well as by a simultaneous retrospective at the Pompidou tracing the development of his sculptural vocabulary. Yet Gehry may set an ambiguous precedent for this ambitious foundation “for creation” (as its extended name declares), as his project not only equates creative freedom with the unmitigated pursuit of complexity, but also suggests architecture as conspicuous consumption’s next frontier.