Word: giacometti
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Dates: during 1990-1999
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...space, thus seeming to predict Futurism. And indeed, just as Daumier's drawings contain his prehensile relation to the past, so they look forward to the more modern artists: the massive strong men and pathetic acrobats of Picasso's Rose Period are already in Daumier's carnival scenes. Giacometti was deeply influenced not only by Daumier's drawing but by his series of tiny, malignant caricature-sculptures in clay known as Les Celebrites du Juste Milieu...
Instead they reach back to the earlier and more authentic anxieties of Alberto Giacometti. Some depict vomiting heads, which, as Rothenberg puts it in her catalog interview with Auping, were "divorce images," conveying "a sense of something threatening, like a stick in the throat . . . the whole choked-up mess of separating from someone you care for and a child being involved." Her combined face-hand images, like Red Head, 1980-81, are particularly strong, perhaps because they so vividly combine a sign for openness and approach (the human countenance) with one for rejection or warding off (the open palm thrusting...
...best of them are to be measured in inches. You enter Price's imagination from the wrong end of the telescope. His objects don't declare themselves across the room at you. Like certain Joseph Cornell boxes, or like the tiny clay caricature heads by Daumier that so influenced Giacometti's ideas of scale they pull you close in with their bright and almost fetishistic visual promise until you have shrunk, as it were, to their size...
...They were so thin they looked like Giacometti sculptures -- living stick figures," LaBell recalls. "The photograph so haunted me that I decided I wanted to do something about it." Marrying his pledge to his profession, he came up with a plan to organize a charity art auction for the United Nations Children's Fund...
...broke up in a fit of anger -- "I pulled it apart and just threw it around the room," he says to curator Deborah Leveton in the catalog interview. "It's a pretty aggressive piece." Indeed it is, almost childishly so, although its distant ancestor is a surrealist classic by Giacometti, Woman with Her Throat...