Word: mird
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...Aalto and his first wife Aino. The most atypical piece, the austere "Flower of Riihimaki," is the most beautiful. More often when working in glass, Aalto let his fondness for nature run riot. Vases were a specialty. The free-form circumferences, blobby and bulbous like doodles by Arp or Mird, suggest lakes or amoebas or arboreal cross sections. Even the casting process | was ripped from nature. On display at the MOMA show is a wooden mold used to make Aalto's 1936 Savoy vase: the length of dugout tree trunk is equipment that a Hobbit industrialist would...
Because stars and stripes remain among its many symbols, Jerde and Suss man call their effervescent design Festive Federalism. But it is much more. It is a rich synthesis of 20th century art, from Mird's squiggles and Mondrian's Broadway Boogie-woogie to Charles Eames' playfulness and Sister Mary Corita's sense of celebration, brought together, as Jerde puts it, "to express a moment rather than memorialize an epic...
...spottily grand look of an academic mistake. But the figure of Balthus's blond wife, hands stretched above her head, rising from the dark plateau into the zone of early-morning sun, is a prime lyric invention; and the color has a resonant, hallucinated distinctness that brings early Mird to mind. Balthus would eventually paint some of the best landscapes of his time. The pick of them, perhaps, is Larchant, 1939, with its luminous sheet of sky and its mellow, precise inter-lockings of building, field and mound...
...bulgy operatic figures pose like Michelangelos and flourish their tiny daggers at frantic women. He will take a tourist postcard view of the Grotta Azzurra in Capri, render it big, add a floating Chagall girl upside down, add a few written phrases in the manner of '20s Mird, and title the whole pasticcio thus: In Strange and Gloomy Waters If a White Dot Shines If a Child Jumps I Will Approach Her Flight, 1979. Chia's visions may not be very deep, but nobody could accuse him of having a defective swizzle stick...
...white pictures have been chosen to illustrate Daval's brisk chronological text. By dividing his subject into 89 bite-size chapters, he is able to draw fine distinctions among the numerous unruly schools that flourished during those fertile 25 years when such men as Matisse, Picasso, Duchamp, Mird, Dali, Walter Gropius and Frank Lloyd Wright changed the look and perception of the modern world...