Word: miro
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Dates: during 1980-1989
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...those familiar with the works of the author who wrote these 25 introductory words. Peter Taylor, 69, has acquired over four decades a formidable reputation and a small but fanatical following among those who care about American short fiction. For many, such Taylor stories as In the Miro District and The Old Forest have come to exemplify the current state of the art. The phenomenon of an established master attempting only his second novel, $ and his first in 36 years, is one that devotees will not want to miss...
...degree to which sculptors angled their work away from the accepted forms of social communication via the human figure. Not because they lost interest in the figure -- on the contrary, the years 1900-1950 were rich in figure sculpture and body-haunted objects by Matisse, Picasso, Archipenko, Brancusi, Miro, Calder, Giacometti and others -- but because they did not want to serve the social consensus in the way that statuary did. Consequently, few public commemorative sculptures made in the past 75 years have any real importance in the modernist canon; and conversely, modern public sculpture is mostly banal in the extreme...
...room is a jam- packed maze of tables, counters and bars, with all the tapas symbols in place: hanging hams and sausages, ropes of garlic and peppers, and sides of dried salt codfish. Noise, music, tiles and fake Spanish paintings (a not- quite- Picasso Guernica here, a playful pseudo-Miro there) attract yuppies of all ages, who begin to line up at 6:30 every evening. Among the more delectable possibilities: red beans with snails, a layered potato omelet, white beans with clams, and deep-fried eggs. Usually on hand are steak with chili corn sauce, stuffed squid, eggplant...
...second was its tenacious originality. O'Keeffe was as thoroughly American as Joan Miro -- whose clarity and depth of space her work sometimes distantly recalled -- was Catalan; her paintings remind those sated with cross-cultural quotation that major art is more apt to spring from deep allegiances to specific experience than from isms. She did not go to Europe until she was 65. When she saw Mont Ste.-Victoire from Cezanne's studio above Aix-en-Provence, she characteristically called it "a poor little mountain" -- which it is, in a way, compared with the landscapes that surround her Ghost Ranch...
...resulting images are like windows into a distinctly shaped but largely unrecognizable world. They have more than a little in common with surrealism; one thinks of the Pandora's box of little involuntary creatures, buzzing and defecating and copulating, that Joan Miro opened in the 1920s. And like those dreambugs, Winters' fungi and spores have a distinctly human air. In their aggregation, they refer to social structures: hives, crowds, nests, colonies. They suggest hierarchies and sometimes conflict. But all this is decidedly muffled, submerged so far in the paint that it hardly works as allegory. Winters does not want...