Word: joans
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Dates: during 1970-1979
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There were seven works commissioned for the building. Among them: a massive and rotund Henry Moore bronze at the entrance, a large Anthony Caro sculpture gesturing from a ledge in the atrium, an immense Joan Miró tapestry and Robert Motherwell's Reconciliation Elegy, the largest and possibly the last (since democracy has now been restored in Spain) of his 30-year series of Elegies for the Spanish Republic. Hovering over and animating the whole central space is a huge mobile by Alexander Calder, feathery light despite its size, and lazily responding to every air current. Smaller spaces are reserved...
...SPRING OF 1920 was a hard time for Joan Miro. The young Catalan had arrived in Paris from Spain in early 1919 when pre-war intellectual and artistic conceptions, like the European balance of power, had been swept away in blood and destruction of the World War. The Dada movement was the new wave in art--but only of the moment. And Miro, though he remained somewhat aloof from its influence, would come to be acknowledged as the formal master of the surrealist movement which grew as Dada disintegrated...
...Joan Miro, even today, reflects the cultural confusion in which Surrealism had its roots. At the Rolly-Michaux gallery in Boston aquatints and lithographs of Miro's, mainly from the last ten years, are on exhibit. These works, despite their optimistically bright colors, their fantasy and their wit, despite the simplicity of the cut-out shapes that compose many of the pictures, express many of the original ideas that animated the Surrealist movement. There is a delight in the absurd and the childish here but, at the same time, you feel almost as if the artist was playing a rather...
Walking away from these works you may feel that the look of Joan Miro's art has radically changed from his early work. Yet, without becoming stale, the motives behind it are still somewhat the same. As Miro wrote in 1939, describing his early struggles for recognition, he has constantly striven, whatever medium he uses, "To try and go further than easel painting... to try to go as far as possible and through painting to get closer to the people who are never out of my mind...
...Joan B. Breen '80, an IRC member, emphasized that the rumors "were completely wrong. They were spread about competent, hard-working women." There is a general atmosphere of "subtle sexism" that the organization must confront, Breen added...