Word: kupka
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Dates: during 1970-1979
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...divorces in 1971 and 30 in 1975. "We're seeing a lot of stress-related symptoms," says Dr. Donald Haase, 53, one of the town's three physicians. "We're getting more cases of acute and chronic depression, and more gastrointestinal problems too." Lutheran Minister David Kupka, 36, likens the town's behavior to that of a family with a terminally ill patient: "First there's denial; then anger, depression, hostility; then bargaining; and finally acceptance." In Limbo. Silver Bay's children have responded with anger and disruptiveness. Says Assistant School Superintendent Elmer Frahm...
Using motion as the integrating force was Kupka's first step towards a school of' painting Ezra Pound called "Vorticism The (theoretical) aim of the group, as Pound saw it, was "to portray the idea of motion itself." Kupka began trying to capture motion through the vibrancy of color; in "Newtonian Disks" (1912) the pure tones, reds, blues, yellows, are liberated from form. They no longer express the form of an object, but establish their own rhythm, make their own music...
...STUDIES from "Newtonian Disks", which follow that painting in sequence down the ramp of the Guggenheim museum, blend almost imperceptibly into studies for "Amorpha: Fugue in Two Colors." This painting is too large to be hung where it should chronologically be placed; one has to descend in suspense through Kupka's "pseudo-Expressionist," "pseudo-Mondrian" and "art deco" periods before finding it, at the bottom. "Fugue," painted in 1912, is indeed greater than anything else Kupka ever did. It represents a culmination of his nonprofessional interests--astronomy, music, and mysticism--as well as his artistic abilities: his skill with color...
...later work does not measure up to this painting. More and more, in the later series, Kupka seems to be losing any sense of his own identity as a painter. His post-World-War-I work gradually discards the "spiritual" for a progressive mechanization of imagery and color. The magic and the music of the earlier paintings disappears; the movement here is not that of the cosmos, but that of a machine. These canvases are products of design, not creation...
...Kupka exhibit starts at the top of the Guggenheim and spirals down through time, following the turns of "modern art." Kupka imitates or reflects dominant influences of his time: Matisse, Delaunay, Gross, Mondrian, Kay Nelson. But in looking at the works as a retrospective of the major aesthetic revolutions of our time, Kupka's theoretical contribution to those revolutions should not be ignored. Nor should his artistic (well, not genius, but) talent: his sensuous lyricism, keen sensitivity, and his occasional inspiration. Kupka is a mirror worth looking...