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...worth $3 million). She paid de Kooning $2,700 for his 1949 canvas Attic (now worth up to $1.5 million). She bought Motherwells and Klines, as well as gentle canvases by Jack Tworkov, a Polish immigrant who had switched from figurative painting to abstract expressionism influenced by de Kooning. She bought Calders and Giacomettis, a Henry Moore bronze and Cornell boxes. At first she hung her own works next to her new acquisitions; then she took them down. "I realized that I wasn't making much of a statement," she recalls with cheery candor. "I'm a failed...

Author: /time Magazine | Title: Art: Muriel's $12 Million Sublimation | 12/22/1980 | See Source »

...week Muriel Kallis Steinberg Newman, Chicago matron and patron of the arts, announced that she would bequeath it all to New York City's Metropolitan Museum of Art. Current value: $12 million to $15 million. Met Director Philippe de Montebello described it as the greatest private collection of abstract expressionists in the world. The gift does not become final until after her death. But at 66, Newman is still active in the art world as a member of the Chicago Art Institute's committee on 20th century painting and sculpture and, just lately, as an honorary trustee...

Author: /time Magazine | Title: Art: Muriel's $12 Million Sublimation | 12/22/1980 | See Source »

...ancestor of this idea is the film director's voice-over: "It's theater about the way you think. When you think, there's about the way you think. When you think, there's a voice in your head, like someone speaking in your ear, and then there are abstract images." In a Breuer production, then, the actors, directors, scene designers and microphones conspire to transform the inside of the theater into the inside of a human head...

Author: By Scott A. Rosenberg, | Title: No 'Harumphs' | 12/15/1980 | See Source »

...recent article in Artforum magazine, critic Ronny H. Cohen describes a contemporary trend in art that is similarly aggressive, one that may have evolved from Dada by way of Pollock and the Abstract Expressionists of the 1950s. Cohen dubs the work of the artists "Energism" and states that Energist works have the ability to "flash out pictorial/emotive expression with such force that the impact freezes us." What the works fear most "is the possibility of coming across as boring." Significant in Cohen's analysis is that Energism (like Dada) is defined not by a set of formal criteria...

Author: By Lois E. Nesbitt, | Title: Dadadadadadadadadadadadadada | 12/8/1980 | See Source »

Cornell had many modes, and they ran from the white abstract grids of his "Dovecotes," filled with one repeated geo metrical motif-a ball, a wooden cube -to his lush romantic tree grottoes filled with exotic birds. But to see him as a reclusive American eccentric, a man working solely out of private fantasy, is to miss one major point of his art: its continual dialogue with the work of other artists, not only the Renaissance and mannerist painters whose images he selectively filched (as in his Medici Prince and Medici Princess boxes), but also those of the 20th century...

Author: /time Magazine | Title: Art: Linking Memory and Reality | 12/1/1980 | See Source »

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