Word: marisol
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Dates: during 1960-1969
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...artist, who was born Marisol Escobar in Paris 36 years ago, of Venezuelan parents, studied in New York under the noted abstract expressionist, Hans Hofmann. Her much-sought-after work is in several U.S. museums, including Manhattan's Modern Art and the Whitney. She usually works more slowly than she did on her TIME commission, will spend as much as three months on a single piece in the company of her cairn terrier, Trolli...
...have used many art forms for " TIME covers-painting, drawing, cartoon, collage, woodcut, sculpture -but never before the special blend that makes up this week's cover on Playboy Editor Hugh Hefner. It is the work of Marisol, whose highly original and wryly appealing style joins wood sculpture, drawing and painting (not to mention carpentry) in a unique combination. The components of her portraits may be odd -a box, a block, a barrel-but they perceptively convey likeness as well as character. "Her art is that of a toy-maker," wrote TIME'S art critic in 1963, "designed...
...whimsical Hefner is a walk-around sculpture, 6 ft. tall, meant to be viewed from all sides. The body is painted onto a hollow box. The head is a wooden block that actually consists of a dozen pine boards glued together and shaped by Marisol's electric saw to look vaguely like a jet engine. Why a jet engine? She does not know. When the work arrived at our offices to be photographed for the cover by Frank Lerner, all the editors (well, nearly all) were delighted. But there were questions. Why the red, white and blue? "Perhaps...
Like Venezuelan Sculptress Marisol, whose primitive cubical, often satirical sculptures are a rage in pop circles, Botero depicts gentle impossibilities. He balloons his figures to look like anthropomorphic Latin American pottery. His subjects turn into jugs with ears, stylized piñatas bursting with human presence. With forceful immediacy, as if cartooning from a reproduction of a Renaissance fresco, his simplified images reflect the innocent expressionism of old Spanish colonial art and the sunlit geometries of its architecture...
During the opening week, Parisians were agog at Marisol's painted wooden beach group and George Segal's plaster Woman in a Restaurant Booth. Giacometti came, stared at Mark di Suvero's jumble of wood beams titled Champion, and exclaimed, "That frightens me!" At the vernissage, César, France's leading sculptor of crushed cars, cast an evil eye on his U.S. competitor, John Chamberlain, but hailed the rest: "We feel much more affinity with America than with the School of Paris...