Word: cataloger
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Dates: during 1990-1999
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Moreover, somewhere near the heart of Dubuffet's idea of a poor art, a raw art, was a large and genuinely democratic tolerance. "The persons I find beautiful," he wrote in a catalog preface, "are not those who are usually found beautiful . . . Funny noses, big mouths, teeth all crooked, hair in the ears -- I'm not at all against such things. Older people don't necessarily appear worse to me than younger ones." Of course, Dubuffet's nudes in the 1950s are sexist, as sexist as Rabelais -- those rosy-brown, squashed-flat, gross and scarily funny "Corps de Dames" that...
...historian Susan J. Cooke points out in an interesting catalog essay, Dubuffet's portraits of French intellectuals were something more than "literary portraits," as such things might be understood in London or New York City. They dropped, under the decidedly ambiguous title "More Handsome Than They Think," into a culture that had always put a high symbolic value on the idea of the writer as conscience of the society. And this was at a time when quite a few writers (such as Pierre Drieu la Rochelle, editor of the prestigious La Nouvelle Revue Francaise) had betrayed that idea by siding...
...Peter Schjeldahl points out in the catalog, Dubuffet "had the transgressor's secret love of limits, the outlaw's perverse attachment to laws," and this repeatedly shows itself in a sense of surface, texture and inflection that becomes extravagantly, almost morbidly, refined. His figures made of butterfly wings are exquisite; looking at some of his surfaces, particularly in the later collages and "Texturologies" of the 1950s, one finds oneself comparing them to the tarnished and mottled silver leaf on a Japanese screen or to richly tanned and patinated leather. Doubtless some of them present insoluble problems for the conservator...
...Boston Pops treatment suits the Disney catalog, which boasts six Oscar winners, from When You Wish upon a Star (Pinocchio) through Zip-a-Dee-Doo-Dah (Song of the South) to A Whole New World (Aladdin). The costumes are meticulous, right down to the tiny red bow on Minnie Mouse's knickers. The oversize character heads bring coos of recognition from the littlest audience members. And the numbers are neatly sung and danced...
...sign of the metaphysical yearnings of the New York school, still less its primitivism. Porter's was very much a modernist vision, but classically so; its main source was Paris, and its exemplars were the great Intimists Pierre Bonnard and Edouard Vuillard. From them, as Agee notes in his catalog essay, Porter learned to "paint what you know, what is given to you, what is in front of you, and let the painting speak for itself...