Word: artfully
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Dates: during 1970-1979
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Last week New York was in its mellow and hazy high summer. Jugglers performed in front of the Metropolitan Museum of Art. From its steps, an impromptu amphitheater, crowds consuming hot dogs and lemonade could watch the street circus, then wander into the museum's cool caverns to savor a Rembrandt and hieroglyphics. All up and down Manhattan, street musicians played-saxophones, cellos, violins, steel drums. On Park Avenue between 51st and 52nd Streets, across from the Manufacturers Hanover Trust building, a brass quintet called the Waldo Park Players blew tunes ranging from the Beatles to Mendelssohn. One night...
...most important art show in Europe this summer is "Paris-Berlin, 1900-1933" at the Pompidou Center in Paris. It is the second of three exhibitions designed to describe the links between Paris and three other capitals of modernist culture: New York, Berlin and Moscow. The project made a lame start with the Paris-New York show in 1977, a patchy curatorial bungle. It finds its feet with this exhibition. The theme is large: nothing less than the whole panorama of the German avant-garde in its most spiritual, subversive or idealist aspects, from the time of Kaiser Wilhelm...
...quality of German visual art has traditionally been downplayed by a Francocentric version of art history, so that-especially for those born between 1930 and 1945- there were relatively few vivid images of a civilized "modernist" Germany to set against the overwhelming iconography of Nazi terror. Now this is changing. "Paris-Berlin" comes hard on the heels of a splendid group of exhibitions mounted in Berlin last fall by the Council of Europe under the general title "Trends of the '20s." They focused on German Dada, on the Bauhaus and its circle, and on international constructivism. "Paris-Berlin" overlaps...
...course, a spectacle very different from French art. Instead of the relatively ordered conversations of the masters of the School of Paris, we see a kind of telephone exchange buzzing with impacted messages and manned, much of the time, by desperate operators; among the shouts and static and discontinuous sentences there is a certain visionary urgency-a belief that art could act directly on the world-whose intensity had few parallels in art communities located to the west of the Rhine...
...World War was ending. "We have to finish with these weary painters of sentiment and vagueness, Cezanne, Picasso and the rest." Certainly, for the first 20 years of the century, the current between the avant-garde of the two capitals ran only from Paris to Berlin. As the German art historian Werner Spies remarks in the catalogue to "Paris-Berlin," the visits made by Henri Matisse or Robert Delaunay to Germany were "marked by a condescending paternalism," in contrast to the tentative and supplicatory visits that German artists like August Macke, Wilhelm Lehmbruck or Max Beckmann made to France...