Word: cubist
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...Only Cubist Town. The first two sections, dealing with the period 1900-50, are at least competent. The history they describe is more settled and hence readily encapsulated. The "period rooms"-unconvincing reconstructions of the Gertrude Stein salon at 27, Rue de Fleurus, the "291" gallery in which Alfred Stieglitz introduced Matisse, Brancusi and modern photography to a tiny coterie in New York, and Piet Mondrian's Manhattan studio, among other places-are tackily made and none too accurate. But the paintings fare better...
...zannists, the traumatic blow of the 1913 Armory Show (partly reconstituted here, with 19 of its more aggressively modern works, including Duchamp's then infamous Nude Descending a Staircase), and the absorption of cubism by New York, which was itself, as the Dadaist Picabia remarked, "the only cubist town in the world." And so on to the surrealist artists who, sponsored by Peggy Guggenheim in the '30s and '40s, helped provoke the climactic movement of the early American avantgarde: abstract expressionism...
...sociable, warm, busy and a bit sloppy. They stand to the more purist kinds of geometrical abstraction as the plan of a hill town does to a Renaissance citta ideale. But they do supply the underpinning on which nearly all Cavallon's later work is based-a firmly cubist structure, distantly suggestive of fields, porticoes or rooms, veiled in strong white light...
Just as the Cubist painters redirected attention away from the representational content of a painting and concentrated it upon the surface of the canvas as a flat plane, so Facade, by reducing words to a musical unintelligibility, explores the surface texture--the facade--of sound. With passages read at break neck speed like...
...include a third-rate vendeuse of exotic surrealist tack like Leonor Fini? In such company, artists like Georgia O'Keeffe, Paula Modersohn-Becker, Kathe Kollwitz, Nataliia Goncharova and Sonia Delaunay look extraordinary; one's eye goes with relief to Goncharova's crude, provincial but raucously vital cubist portrait of her husband Mikhail Larionov (1913), the face kippered flat and streaked with voracious slashes of color; it luxuriates in the shimmer of rosy light, circle on circle, that fills the surface of Delaunay's masterpiece of 1916, The Flamenco Singer. Moreover, if the exhibition does seem...