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The Artists and Their Alley
Clockwise from left: Brancusi’s studio in 1957, the year he died; Niki de Saint Phalle in 1961, creating one of her shooting paintings with a .22 rifle; the layout of the studios, drawn by Brancusi’s friend, the painter Alexandre Istrati. Credit Clockwise from left: Manuel Litran/Paris Match via Getty Images; Shunk-Kender, ©J. Paul Getty Trust, Getty Research Institute, Los Angeles (2014.R.20); hand-drawn map of the Impasse Ronsin by Alexandre Istrati, ©Succession Brancusi — all rights reserved ADAGP, Paris/Artists Rights Society (ARS), New York, 2016. From the book “Ateliers: L’Artiste et Ses Lieux de Création dans les Collections de la Bibliothèque Kandinsky” by Didier Schulmann ©Centre Georges Pompidou, 2007
This narrow, nondescript passage — known as the Impasse Ronsin — was once an artery of aesthetic energy that, in no small fashion, defined French postwar art in all its insanity. First the site of the sculptor Constantin Brancusi’s studio, Ronsin was later where the likes of Max Ernst, Yves Klein, Niki de Saint Phalle and Jean Tinguely all lived or worked for much of the 1950s and early 1960s.
— NYT
James McAuley previews 'L’Impasse Ronsin' an exhibit at Paul Kasmin Gallery, from Oct. 27, 2016, to Jan. 18, 2017.
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